Corrina, Corrina sets itself up nicely in its opening few moments. During a funeral reception for her mother, a young girl, Molly Singer (Majorino), hides under a table saddened by her death. The entire scene is shot from her viewpoint as various conversations are heard, but only legs are seen. This is the kind of comic sadness that is prevalent throughout Corrina, Corrina. The girl’s father, Manny (Liotta), attempting to get on with his life and job, is forced to hire a housekeeper to take care of Molly. After a grueling search, he hires Corrina Washington (Goldberg), whose entrance into the house has a profound effect on the family. Corrina, Corrina begins in typically lame Hollywood fashion; the opening interviews for the housekeeper are a perfect example of how tired and trite the film is. However, it soon rises out of this slump as it tries to encompass the multiple storylines of funeral aftershock, young love, and interracial relationships in the late 1950s. The demanding script requires Majorino to portray every conceivable emotion, proving she is one of the most talented and adorable young actresses working today. Corrina, Corrina finally pulls Liotta out of the cinematic nightmare he’s been wallowing in since GoodFellas. Goldberg’s impressive performance is reminiscent of her powerful dramatic work in The Color Purple. Along with some incredible jazz as background music, Corrina, Corrina offers Don Ameche in his last featured role and the usually hilarious Larry Miller in a wasted bit part. Although the ending comes rather abruptly, it does not ruin this overall enjoyable and moving film.
This article appears in August 26 • 1994 (Cover).