Somewhere near the end of this indie feature about the lifestyles and foibles of the young and uncommitted, a character exasperatedly exclaims: “You can’t change the world with a single conversation.” Agreed. Instead, Twogether presents a gauntlet of conversations, as if the quantity of dialogue were all that mattered. Only problem is that Twogether’s characters are people with very little to say to each other. Certainly nothing of earth-shaking caliber and, doubtful, nothing along the lines of personal epiphany or private illumination. This is not so much the fault of the actors. Nick Cassavetes (son of John Cassavetes and Gena Rowlands) and Brenda Bakke are good as the Venice, California pair, John and Allison, who meet, instantly make fast and furious love, get married, get divorced, get pregnant, and then get to know each other (in that order). He’s a painter on the cusp of commercial success. She’s an aimless rich girl desperate for a sense of self-worth. Both of them want this baby for reasons they can’t articulate. But that sure doesn’t stop them from trying. The problem lies with writer/director Chiaramonte’s trite and facile handling of complex modern situations beginning with the film’s overused opening shot of a silhouetted female body spinning freely on the beach with arms outstretchedand ending with a freeze-frame of child swinging in mid-air. This is the same script that can unself-consciously couple things like the birth of John’s son with the death of his mother. The script has little subtlety or depth and usually settles for the appearance of meaning, as with the very title: Twogether. As the film starts we are privy to John’s interior thoughts via his hard-boiled voiceover. Then it mysteriously stops. And does the name Allison McKenzie sound at all familiar? Does anyone remember Peyton Place? This is typical of Twogether’s ahistorical, self-absorbed approach to storytelling. There’s no question that all parties involved in this project are earnest in their belief that the lack of familial commitment is one of the scourges of modern civilization. But the movie never makes the audience believe that the acceptance of commitment will change a damn thing. Nevertheless, Twogether’s current Austin run is one of its very first commercial bookings anywhere and you therefore have the unique chance to be the first kids on the block to see it.
This article appears in April 30 • 1993 (Cover).
