I'm Losing You

( 2 )

Overview

This 1998 film about a dysfunctional Los Angeles family is directed by Bruce Wagner, on whose novel this is based. Everyone in this family has a problem. Perry Frank Langella is a successful TV producer who has been diagnosed with inoperable cancer just before his 60th birthday. His son Bertie Andrew McCarthy is an unsuccessful actor but a wonderful father with an adorable daughter and an ex-wife who is known to show up for visitations visibly stoned. Rachel Rosanna Arquette, a niece who is now his adopted ...
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Overview

This 1998 film about a dysfunctional Los Angeles family is directed by Bruce Wagner, on whose novel this is based. Everyone in this family has a problem. Perry Frank Langella is a successful TV producer who has been diagnosed with inoperable cancer just before his 60th birthday. His son Bertie Andrew McCarthy is an unsuccessful actor but a wonderful father with an adorable daughter and an ex-wife who is known to show up for visitations visibly stoned. Rachel Rosanna Arquette, a niece who is now his adopted daughter, finds out that her father murdered her mother years ago before taking his own life. We follow these characters as they go through their share of hardships and love. We are given a lot to chew on, including death, adultery, AIDS, and deceit. Wagner got a lot of very good actors to appear in small roles, including Amanda Donohoe, Buck Henry, Elizabeth Perkins, and Ed Begley Jr.. Prior to this film Wagner was chiefly known as the writer of Wild Palms and Scenes from the Class Struggle in Beverly Hills.
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Editorial Reviews

All Movie Guide - Michael Hastings
Ambitious to a fault, Bruce Wagner's feature debut -- adapted from his own novel -- is a sprawling, Hollywood-literate ensemble pic that tackles such weighty issues as death, spirituality, and success, but fails to find a consistent tone for the proceedings. Predetermining Six Feet Under's mix of morbidity, sex, and sarcasm by a couple years, I'm Losing You drops pop-culture references and life-threatening illnesses within the same scene -- more often than not, within the same sex scene. It's like Magnolia without the redemption, which isn't necessarily a bad thing, but it's hard to take a vested interest in any of the affluent, abrasive characters, especially Rosanna Arquette's unpredictable adoptive daughter character, whose quest for faith seems more of an arbitrary device than a deep-seated yearning. Best in the cast (as usual) is Elizabeth Perkins, whose AIDS-stricken single mom Aubrey strikes the perfect note of sardonic humor in the face of despair.
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Product Details

  • Release Date: 8/10/1999
  • UPC: 658149732032
  • Original Release: 1998
  • Source: STUDIO / STERLING
  • Aspect Ratio: Priced for Rental Market
  • Presentation: Priced for Rental Market
  • Format: VHS

Cast & Crew

Performance Credits
Rosanna Arquette Rachel Krohn
Amanda Donohoe Mona Deware
Buck Henry Philip Dragom
Salome Jens Diantha Krohn
Frank Langella Perry Needham Krohn
Andrew McCarthy Bertie Krohn
Elizabeth Perkins Aubrey
Gina Gershon Lidia
Ed Begley Jr. Zev
Laraine Newman Casting Person
Norman Reedus Ed Begley Jr.
Aria Noelle Curzon Tiffany
Technical Credits
Bruce Wagner Director, Screenwriter
Daniel Catan Score Composer
David Cronenberg Executive Producer
John Dunning Executive Producer
Janice Hampton Editor
Pamela Koffler Producer
Jim LaClair Asst. Director
Andre Link Executive Producer
Michael Paseornek Executive Producer
Jeff Sackman Executive Producer
James Samson Sound/Sound Designer
Richard Sherman Production Designer
Rob Sweeney Cinematographer
Christine Vachon Producer
Theadora Van Runkle Costumes/Costume Designer
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Customer Reviews

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( 2 )
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Sort by: Showing all of 2 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    A Meditation on Death and Dying: Reconstructing a Family

    Bruce Wagner's screen adaptation of his novel I'M LOSING YOU has some of the more intelligent dialogue to be encountered in a film. Since Wagner also directed this little gem, brimming over with excellent actors, we can be assured that his message of death as a necessary component in the cycle of life is intact. Despite the dour content of the story this film actually leads to a credible sense of how deaths can ultimately be redemptive: it is all in how vulnerable we allow ourselves to become in coping with this life change. The story is focused on a wealthy Los Angeles family headed by television producer of sci-fi series Perry Krohn (Frank Langella), married to a psychiatrist Diantha (Salome Jens) despite having a 'helper' mistress Mona (Amanda Donahue), 'stepfather' of a disillusioned daughter Rachel (Rosanna Arquette) and a has-been actor son Bertie (Andrew McCarthy) who makes a living selling back insurance policies to AIDS patients: the father has been diagnosed with inoperable cancer and his attempts to set his will in order is the catalyst for the story. The son is separated from his ex-wife, a disturbed addicted woman Lidia (Gina Gershon) and the two fight over custody of their young child Tiffany (Aria Noelle Curzon). Complicating matters is the fact that Rachel has never been told until now that her biologic father murdered her mother and committed suicide AND that her stepfather had a onetime sexual fling with her mother. Things begin to consistently fall apart: the son falls in love with one of the AIDS victims, Aubrey (Elizabeth Perkins), to whom he sells insurance who has a son and lives in horror that she will soon die and her son will be abandoned. About this same time Tiffany is killed in an automobile accident, the fault of her drugged out mother, and Rachel embraces her Jewish heritage by learning how to perform the body cleansing ritual performed as a loving act on the dead - the dead being Tiffany. And at this peak of crises, Aubrey dies in a hospital, succumbing to every complication known to AIDS. How this fractured family comes together in the midst of all these losses and lifetime barriers to communication serves as the resolution of this complex but infinitely interesting story. The actors all give bravura performances, relishing the smart dialogue and the multilayered meanings to each encounter captured by the fine cinematographer Rob Sweeney. This may not be a film for everyone, but for those seeking more form a film than entertainment will find much food for thought here. Recommended. Grady Harp

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  • Anonymous

    Posted October 1, 2010

    He Only Has Himself To Blame

    Bruce Wagner -- who wrote the novel on which this movie is based, and then wrote the screenplay for and directed the movie -- lost all of the zest of his book when he transferred it to the screen. NONE of the book's fun or wit is present in this movie, which is very sombre, slow-moving, and disjointed. Rather than a biting social satire of everything that is wrong with L.A. and the movie business, with a serious overlay of spirituality and mortality (which was the book), this movie instead is just a Bergman flick on downers. Pass.

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