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Prince of Tides, The

The Prince of Tides is a tale of the love, grace and redemption that can grow from a crux of juxtaposition. In a society that often defines itself by contrast, Tides reminds us of the beauty to be found when we learn to acknowledge and embrace the counterparts of our self-imposed extremes. With this 1991 adaptation of Pat Conroy’s acclaimed novel, Barbara Streisand writes herself into film history as a flawless director – an endeavor that not only earned her Director’s Guild and Golden Globe nominations for Best Director, but also helped secure the film an Academy Award nomination for Best Picture.

As Tom Wingo (Nick Nolte) tells us early in the film, only his sister could force him to leave his beloved South Carolina home and venture to the alternate extreme – "God-Awful" New York City. His twin, Savannah, is a disturbed New York poet who has attempted suicide. Tom’s newfound responsibility is to work with Savannah’s psychiatrist, Susan Lowenstein (Streisand), to fill in the missing details of his and Savannah’s troubled childhood... details that he has spent his life trying to forget. In the process of reliving his past in order to save his sister, Tom begins to understand that he’s truly the one in desperate need of salvation. Savannah’s psychiatrist, Susan Lowenstein (Streisand), is there to bring him through the struggle to the revelation, on many levels.

Rarely is transition a noteworthy directorial discussion point in film, but The Prince of Tides is the ultimate exception to that rule. Streisand’s use of transition brings the film’s juxtapositions into perfect harmony and gives the story’s voice its melody. From the moment we see a midnight South Carolina beach shore evaporate impeccably into the smog over Manhattan, we know we are in for a film of transitional treats. Thereafter, the film’s transitions become not only a tool for blending the story’s contrasts but, even more importantly, for revealing Tom’s childhood memories. As he prepares dinner in Savannah’s New York apartment, Tom relives an episode from his childhood based on the same culinary ingredients he’s using. His memory, triggered by the act and aroma of preparing Shrimp Newburg, gives Lowenstein, and the viewer, a morsel of needed information on the truth of his and Savannah’s childhood. We are carried from Savannah’s New York kitchen to the South Carolina family dinning table of Tom’s youth and back to Dr. Lowenstein’s Upper East Side office with melt-in-your mouth smoothness. Throughout the film, Streisand uses such transitional techniques to beautifully and effectively reveal the story, with all of its savory nuances.

With the exception of Melinda Dillon, who plays the demented Savannah, the actors in Tides delight with fabulous performances. Streisand portrays the character of Dr. Susan Lowenstein with style and grace – nothing over the top or out of place, as many critics may have anticipated. Nick Nolte gives the performance of his career as Tom Wingo. He emotes the ideal mix of trouble and finesse, layered with charm and simple likeability. His transition in the film, ultimately climaxing in his renewed self-discovery and salvation, carries the viewer on a journey that won’t soon be forgotten. The unassuming show-stealer, however, is Kate Nelligan, who brings three decades of Lila Wingo – Tom and Savannah’s mother – to life with ease and believability.

Bottom Line: The Prince of Tides is a must-see for anyone who has ever felt the need to embrace their past in order to understand the present and move into the future... or for anyone simply wanting to be swept away by an excellent film.

Written by: Jennifer Henson

Reviewers Rating: 9
Reader's Rating: 8.38
Reader's Votes: 13

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