Stolen Summer

Roland E. Zwick (magneteach@aol.com) wrote on IMDB:

American films deal with all aspects of every day life: work, school, marriage, family, divorce, adolescence, sexuality, crime, alcoholism, drugs, disease, death - the range of subjects is virtually endless. Yet if you were to look to films to get some sense of what defines American culture, you would never know that religion played any kind of role at all in the lives of the common, ordinary citizen. Spirituality seems to be the one aspect of life that never gets acknowledged even by the most incisive of filmmakers. Of course, we do occasionally run across the serial killer who claims to be doing `the Lord's work' as he's butchering his victims, or the diabolical Catholic Church hierarchy plotting the deaths of hundreds to maintain its nefarious hold on its riches and power, or the sleazy evangelist who is out there bilking millions out of their life savings in exchange for a phony one way ticket to eternal glory. But we almost never see just plain garden-variety folks who go to church, value their faith and try to make their religion an intricate part of their workaday lives. Why is that?   [ show more ]

Well, `Stolen Summer' is that rare American film which actually acknowledges that religion plays a key role in many people's lives. It's Chicago, 1976, and 8-year old Pete O'Malley, fearful of going to hell, is on a quest to assure his place in heaven by converting neighborhood Jews to the Christian faith. As part of his effort, he enlists the aid of a local rabbi who, admiring Pete's honesty and willingness to seek for Truth, agrees to let the boy set up a lemonade-cum-salvation stand outside his temple. The film deals with a wide array of characters, including members of Pete's family as well as the rabbi's, who have varying reactions to both Pete's stated goal and the burgeoning friendship between Pete and the rabbi's own son.

`Stolen Summer' is not afraid to confront the sectarian nature of religion that is often used as a means of dividing people of faith rather than bringing them together. Moreover, by viewing the world through the unfiltered eyes of these two innocent young boys, writer/director Pete Jones points up the empty ritualism that often defines how we adults choose to practice our faith. Pete and Danny, by cutting through the layers of nonsense and getting to the simple heart of the matter, force many of the grownups in the film to re-evaluate their own beliefs and practices.

It's also nice to see a family in a film that, although it has problems, is not thoroughly angst-ridden and dysfunctional. The O'Malley's are an intact Irish Catholic family whose eight children are a clear testament to the couple's adherence to papal decrees on birth control. In an excellent, multi-layered performance, Aidan Quinn plays Pete's father, Joe, a hard-working fireman who is proud of his ethnic roots and who feels that the most important role for a man in this world is to take care of his family. Yet, Joe has problems of his own. For one thing, he has an excessive sense of pride that prevents him from wanting his children to have a better life than the one he has made for them. He believes that his college-aged son should be content to work as a dutiful civil servant rather than pursue his dream of becoming a doctor. Moreover, Joe obviously fears what he doesn't know or understand and this comes out in subtle flashes of anti-Semitism, which put him in direct conflict with the rabbi and even his own son at times. Joe is, in many ways, the most interesting character in the film mainly because Jones is careful not to peg him as either a total hero or total villain. Bonnie Hunt and Kevin Pollack offer strong support as Joe's levelheaded wife and the open-minded rabbi, respectively. And young Adiel Stein scores big time as the centerpiece of the film, little Pete O'Malley. Stein conveys an upbeat childlike innocence that is infectious without becoming cutesy or cloying. He is utterly believable as a young boy coming-of-age in a suburban home in the 1970's.

`Stolen Summer,' because it deals gently with its people and its subject matter, may strike some as a bit too mild in tone, a bit too lacking in grit to be worth very much. And, in a sense, they may be right. The film does sometimes come off a bit like one of those `good for you' After School Specials designed to deliver an upbeat, heartwarming message about the goodness of mankind without unduly upsetting anyone in the audience. And the movie does feel a bit contrived at times, more concerned with wringing tears or teaching a lesson than it is in capturing life in its rawest form for all of us to see. But no matter. It's still a pleasure to see a film at least attempting to acknowledge both that people do think about religion and God from time to time in this world and that we all don't come from families torn asunder by personal trauma. Yes, one could perhaps wish for a bit more edginess at times - still, `Stolen Summer' merits praise for bringing religion back into the mainstream of American movies. [ show less ]

PFGaecke wrote on IMDB:

I don't think I'm slanted because much of the film was made in my hometown... and the writer-director is the youngest son of a longtime friend. But I thought I'd better establish those facts up front.

If you want to capture the true flavor of the south side of Chicago in the '70s, this movie does it. From the scenes in and around Holy Cross church in Deerfield, to the beautiful Jewish temple on the south side, to the 76th Street beach, to scenes in and around Chicago bungalows, even under the L tracks, this film has it. I grew up on a block on the south side where we were the only family that was not Irish-Catholic. This film depicts the values and relationships of those types of families very well.   [ show more ]

Will anyone get a Golden Globe or an Academy Award from "Stolen Summer"? Probably not. But if you want to spend a couple of hours enjoying a good movie with a real message--go see "Stolen Summer". If you're a Chicagoan and want to see a slice of home... so much the better. [ show less ]

Docterry wrote on IMDB:

Having finally seen `Stolen Summer' I was more surprised than anyone to find the film extremely fetching. I thought it was well made and well acted. It was written and directed by a total novice, Pete Jones, who won a contest- as silly as that sounds. There are scenes that can be called schmaltzy but they seem to fit in with the mood of the picture and feel deserved; they're not simply tacked on as emotional buttons like in lesser screenplays. I hate watching kids in movies because they usually go hand and hand with loud noises and special effects. However, this screenplay gives these kids some heavy-duty subject matter to explore and their performances are intriguing. One might complain the film doesn't have any visual flair or creative camera angles and such. I think the film captures the austere sluggishness of the 1970's rather well.   [ show more ]

After reading the external reviews for this movie I had to write a comment. One would think all the nation's critics united against this film. One reviewer said… `There are probably at least nine people who will sit all the way through the well-meaning but inert `Stolen Summer'. What's that mean? Did the guy watch twenty minutes of it and split? Are professional critics allowed to do that? I find that incredibly aggravating. I think all people involved in the film business are eventually driven to this kind of cynicism and contempt. I myself was rather turned off watching `Project Greenlight' on HBO. I realize making movies is an expensive enterprise but there's got to be a better way next time than what Jones went through. They had his you-know-what's in a vice the entire time and treated him like he was just touring Universal Studios for the day. I guess Hollywood is finally letting us in on their secret…that any schmuck off the street can make a movie because in the end it's the executives who really make all the decisions. The director might as well devote his time to the catering concerns.

[ show less ]