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| Feast of Love | 
 enlarge | Director: Robert Benton
Actors: Morgan Freeman, Greg Kinnear, Radha Mitchell, Billy Burke, Selma Blair
Studio: MGM (Video & DVD)
Category: DVD
List Price: $19.98
Buy Used: $2.90
You Save: $17.08 (85%)
New (42) Used (38) Collectible (1) from $2.90
Avg. Customer Rating:  23 reviews
Sales Rank: 5044
Format: Ac-3, Color, Dolby, Dts Surround Sound, Dubbed, Dvd-video, Full Screen, Subtitled, Widescreen, Ntsc
Languages: English (Original Language), English (Subtitled), Spanish (Subtitled), French (Dubbed), Spanish (Dubbed)
Rating: R (Restricted)
Number Of Items: 1
Running Time: 102
Aspect Ratio: 1.33:1
Shipping Weight (lbs): 1.3
Dimensions (in): 7.5 x 5.3 x 0.5
MPN: M109997
UPC: 883904099970
EAN: 0883904099970
ASIN: B0010X8NNM
Theatrical Release Date: September 28, 2007
Release Date: February 5, 2008
Availability: Usually ships in 1-2 business days
Condition: excellent condition!-played once-will ship first class
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Product Description
Love is the star of this film from director Robert Benton (KRAMER VS. KRAMER THE HUMAN STAIN). Bradley (Greg Kinnear) believes in the power and beauty of true love. He s good at falling in love--just with the wrong women. He s hoping that his relationship with sophisticated Diana (Radha Mitchell) will have a happier ending than his first marriage to Kathryn (Selma Blair). Bradley s friend Harry (Morgan Freeman) is happily married to Esther (Jane Alexander) but they are dealing with the loss of a different kind of love. At the same time Oscar (Toby Hemingway) and Chloe (Alexa Davalos) are busy falling in love at first sight and starting their life together even though the odds are against them.In this film no relationship stone is left unturned and no relationship is judged. Instead love in various stages of growth dissolution and transformation is explored. From love at first sight to divorce and death to long-term relationships and affairs multiple facets of love are seen as what they are: simply a fact of life. Freeman s character a professor on sabbatical serves as an elder statesman of sorts wise enough to notice nuances in relationships the other characters miss. Kinnear is endearing as Bradley who simply wants to love and be loved. Davalos is someone to watch--she lights up the screen and Alexander commands every frame in which she appears. Be prepared: this is not the light-hearted romp it appears to be in the trailer. There is quite a bit of nudity and sexual content and some very adult themes. Set in Oregon the film is based on the novel of the same name by Charles Baxter and also features Billy Burke and Fred Ward.System Requirements:Running Time; 102 Mins.Format: DVD MOVIE Genre: COMEDY/ROMANTIC COMEDY Rating: R UPC: 883904099970 Manufacturer No: M109997
Amazon.com
The warm, reassuring gravitas of Morgan Freeman anchors Feast of Love, a multi-character meditation on the mysteries of that oh-so-powerful emotion. Bradley (Greg Kinnear, Little Miss Sunshine), owner of a coffee shop in Oregon, thinks his marriage is idyllic--until his wife (Selma Blair, Hellboy) leaves him for another woman. One of Bradley's baristas (Toby Hemingway, The Covenant) falls head over heels for a girl who comes looking for a job (Alexa Davalos, The Chronicles of Riddick), but his abusive father (Fred Ward, Miami Blues) spells trouble for the relationship. Finally, a professor (Freeman) and his wife (Jane Alexander, Kramer vs. Kramer) struggle to find purpose in life in the aftermath of a personal tragedy. Though some scenes are a bit precious and the dialogue leans too much on semi-philosophical pronouncements, viewers will find it hard not to identify with the universal trials of romance and the yearning for a family. Also starring Radha Mitchell (High Art, Pitch Black) as a real estate broker who can't stop seeing a married man. Warning: Feast of Love is predominantly about the ways of the heart, it features several fairly explicit sex scenes. Directed by Robert Benton (Places in the Heart, Nobody's Fool). --Bret Fetzer
Beyond Feast of Love 
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| Customer Reviews: Read 18 more reviews...
 The Multiple Courses of a Feast of Love February 11, 2008
211 out of 234 found this review helpful
It is always puzzling when films of the caliber of FEAST OF LOVE are short-lived in the theaters, usually scantily attended in the shadows of the big, mean, noisy blockbusters. And when film buffs begin to believe that the meaningful movies only come from foreign sources, out pops the DVD release of a jewel like this film, a story so well written (Allison Burnett), directed (Robert Benton), and acted by a gifted cast to show under scrutiny that it is the equal of the best of the 'sensitive films'.
Based on a novel by Charles Baxter (and adapted by Allison Burnett, another extraordinary writer of his own novels CHRISTOPHER: A TALE OF SEDUCTION and THE HOUSE BEAUTIFUL), the story takes place in Portland, Oregon and examines the lives and love stories of myriad characters, each of whom is connected in some way to the father confessor of the town, one elderly professor Harry Stevenson (Morgan Freeman) who not only narrates the threads of the people's lives that round out this film, but also plays a significant role as a father of an only son who died in the recent past from a heroin overdose, a man bruised and experienced in the vagaries of life, supported by his wife Esther (Jane Alexander), both of whom cope with their loss by extending their love to young people.
Bradley Thomas (Greg Kinnear) is an artist and an optimist who own Jitters, a coffee shop, and is married to Kathryn (Selma Blair) who loves sports...and leaves him for a woman who awakens her lesbian longings. A young recovering drug abuser Oscar (Toby Hemingway) works in Bradley's shop and in a magic moment falls in love with a sensitive free spirit named Chloe (Alexa Davalos) and is hired by Bradley on a whim. Bradley doesn't understand the complications of love: he is an optimistic romantic, but with an indomitable spirit that allows him to progress through marriages like a hero! Searching for a place to live after his marriage fails, he meets real estate agent Diana (Rhadha Mitchell) who despite the fact that she is having an extended love affair with married David (Billy Burke), a relationship consisting solely of 'nooners' with wine and sex, sees the rare vulnerable goodness in Bradley and once again Bradley is in love, headed toward marriage. Meanwhile Oscar and Chloe share dreams for a perfect future despite a problem with Oscar's alcoholic abusive father Bat (Fred Ward) and some ominous warnings from palmist/card reader (Margo Martindale). At the heart of each of these affairs of the heart is the supportive Professor Harry, a wise man who observes reality and yet retains the courage to offer advice and love to all of the characters. In a short time Bradley's marriage to Diana fails as Diana returns to the now available David, and in a moment of angst Bradley wounds himself, is taken to a Dr. Vikashi (Erika Marozsan) for treatment and ends up falling in love yet again - and this time the feeling is wholly mutual. And just when the playing field of love seems even, a major tragedy occurs which bonds all of the players surrounding the wise Harry and Esther and the resolution of all of the aspects of the feast of love come round.
What makes this film so very successful is the gentle manner in which it is written and directed and acted. There is not a weak element here in this survey of the power and force of love. Some may find the generous scenes of lovemaking a problem, but these scenes are in integral part of the story and never border on the superfluous or gratuitous level. The cast is excellent: the pleasure of seeing actors of this wide age range work together in such a fine ensemble manner is doubtless due in large part to not only the individual actors of quality but also to the director. This is a beautiful film, happy and sad, tender and enriching, and hopefully will be seen by a large audience now that it is available on DVD. Highly recommended. Grady Harp, February 08
 Slick, Superficial, But a Great Cast! February 12, 2008
16 out of 22 found this review helpful
I enjoyed Robert Benton's generational romance, "Feast of Love", but I couldn't help wondering, while watching it, on what planet this story takes place...every woman who appears is gorgeous, and ready to hop into bed, houses to buy are affordable, even for kids (and very easy to find), college professors earn enough to take sabbaticals that never end, and can sit in coffee shops forever...and, with the exception of a nearly caricatured abusive father (Fred Ward, in a thankless role), everybody is just so darn nice that the bad things that happen always leads to something wonderful. In the postcard-perfect Portland of the story, addiction only happens off-camera, lesbian women seducing wives away from husbands are okay, affairs with married men are acceptable, making a home-made pornographic film isn't any big deal, even self-mutilation is a potential way to make a love connection! Benton makes this all work, but I WAS scratching my head...
While Greg Kinnear's coffee shop owner is so bland and out-of-touch that it was hard to warm up to him (his big comic scene, bribing his nephew to get a dog back that he no longer needed, and the boy had bonded with, seemed not only unfunny, but out-of-character), Morgan Freeman is rock-solid as a professor dealing with the loss of a son by passively observing the lives around him. He is complimented by Jane Alexander's wise portrayal of his wife, and their scenes together are the most richly dramatic of the film.
The best roles of the film are the women's; Alexa Davalos, as a free spirit who bonds with a doomed ex-addict (Toby Hemingway), overcomes the "so beautiful that she can't be real" initial reaction to her, to become the 'heart' of the story, demonstrating a courage and depth that is refreshing to see in a young actress. Equally impressive is Radha Mitchell, as a Realtor who marries Kinnear just to snub her married boyfriend (Billy Burke). In a role that included dramatic confrontations while nude, she never seemed artificial, and offered a remarkable depth to what could have been a cold-hearted portrayal.
Both Davalos and Mitchell have several nude scenes, so if you have young children, you may want to wait on airing this until they are in bed.
As I said, "Feast of Love" is enjoyable, if not really believable...I think it works best as a great 'date' movie, to snuggle up to, with someone you love!
A multi-course feast April 2, 2008
8 out of 12 found this review helpful
The stories of the foibles of love are told through the narration of Dr. Harry Stevenson (Morgan Freeman). He and his wife, Esther (Alexander) are coping with old age and the loss of their son. He's also occasionally a sage advisor for others, but in the end realizes he still has much to learn.
Harry watches as Bradley (Kinnear) misses it when his wife Kathy (Blair) falls in love with another woman (Katic). Bradley continues a spiral of relationships until the right woman comes along quite by accident.
Harry recommends that Bradley hire 20-ish Chloe (Davalos) when his barista Oscar (Hemingway) falls for her. Then, Dr. Stevenson, who thought he was so sage about love learns the most valuable lesson from Chloe.
"Feast" is a multi-generation tale of love with lessons for people of all ages. Note: there are some explicit scenes including a lesbian relationship. The film's based on the novel by Charles Baxter and directed by Robert Benton.
"Feast" of Characters Is Ruined By Strange Narrative Device October 6, 2007
7 out of 14 found this review helpful
Once again Morgan Freeman plays the wise, old sage in the cast. At this point, he has played a similar variation of this role so many times I think he should get a patent. Anytime someone wants this type of character in their film, they should only get Freeman to play the role, or pay him a royalty.
That said, Professor Stevenson, the narrator and guide through "Feast of Love", Robert Benton's ("Nobody's Fool") newest film is an interesting character. His narration while helpful is also problematic, serving to draw us out of the film and remind us of how episodic the story is, constantly reminding us of the book the film is based on.
Stevenson seems to have a lot of time on his hands and roams the Portland, Oregon neighborhood where he and his wife (Jane Alexander) live. He spends time at the local coffee shop, Jitters, owned by Bradley (Greg Kinnear) and staffed by Oscar (Toby Hemmingway). Stevenson watches as Bradley and Oscar fall in love, break-up and then fall in love again. As their circle of people grows, Stevenson becomes a member of this larger group. He returns home each day to relate the day's events to his wife. Stevenson is on a leave from the local university and seems determined to delay his return, as he deals with the grief of his adult son's death.
I wouldn't mind Stevenson's wise words and his sage advice nearly as much if he only discussed these moments with people. When Freeman starts to narrate the character's thoughts and feelings, he becomes too obtrusive into our interaction with the film. Also, these moments of narration are used to try to hide the episodic nature of the story. As soon as he relates an event in Bradley's live, we see an event in Oscar's life, and back and forth.
Freeman is, as always, good. It's just too bad his performance is so familiar.
Bradley, played by Greg Kinnear, is a bit too clueless to be likable. Initially, our interest is held as Stevenson wisely observes his relationship with his wife, Kathryn (Selma Blair). Just finished with a softball game, the Professor joins the younger couple at a local bar where Kathryn talks with Jenny (Stanza Katic), one of the players from the other female team. They form a friendship and Jenny recognizes Kathryn is interested in becoming more than just friends. Bradley is so clueless; he doesn't realize there is a problem until Kathryn is walking out of their house. Of course, Stevenson knows right away and tells his wife about what Bradley will soon discover.
Bradley decides to move, for a change of pace. His realtor, Diana (Radha Mitchell) shows him a house right next to Stevenson and he decides to take it. He also falls in love with Diana, who is a bit hurt her boyfriend, David (Billy Burke) won't leave his wife, relegating their relationship to torrid meetings in hotel rooms during lunch.
Oscar (Toby Hemingway), a young, blond, spiky haired guy with tattoos, seems to really enjoy his job at Jitters. One day, Chloe (Alexa Davalos) walks in looking for a job. He immediately agrees they need the help and Bradley gets the hint. Soon, Oscar and Chloe are in love and their story is, by far, the most romantic. But it also has a few plot contrivances more suited to an afternoon soap opera.
It seems odd to me that Stevenson and his wife, Esther (Alexander) don't interact with the other characters in the film more frequently, making them seem a bit disconnected, further reinforcing the strange feel of the narration. About halfway through, Esther and the Professor have wine with Bradley and Diana and start to participate with the others, making the film seem a little more real.
Benton is a very good director and he achieves a lot of visual moments that really speak volumes about the relationship between these characters. When Esther walks into her husband's home office, she notices he is working on his computer. "This is a welcome sight," she says. She soon learns he is writing a letter to the dean of his school extending his leave indefinitely. This is upsetting to her, but rather than start screaming, she pauses a moment and leaves the office, slamming the door. Stevenson pauses, without looking at the door. This is a telling moment, accurately reflecting the depth and length of their relationship.
Stevenson and Esther do a lot of observing when they are with the younger couples. Over their wine, the younger couple says things causing the older couple to pause. Later, they discuss the events amongst themselves. If they did this once or twice, it would be amusing and even interesting, but because it happens often, it seems as though this couple are supposed to be our guide into the lives of these characters. That's fine, too. But because they sit and watch so much, it makes them passive observers. Since we are sitting and watching a film, we are already a passive observer. What makes a film great is when you feel you are part of the story, the action, and the character's lives.
Fred Ward plays Bat, Oscar's abusive father. He only has a couple of scenes and in each he is drunk and over the top, so he fits the bill. But because he has no development, his character seems odd and since he really has no overall place in the story, his appearances only briefly make Oscar apprehensive. He really adds nothing to the story.
These complaints aside, the story about Oscar and Chloe really saves the film. From the moments Oscar spots Chloe, you can see the hunger in his eyes. As their relationship progresses, you believe they have each found their soul mate and are deeply in love. We learn things about their past and watch some of the decisions they make and this helps to make them more real. It doesn't hurt that Toby Hemingway and Alexa Davalos are both very good looking and create a lot of onscreen chemistry.
"Feast of Love" is clearly designed as a portrait of three different generations in love, and it works to a certain degree. But the strange choice of narrative device does nothing but serve to take us out of the film, make us a passive observer, and consistently remind us of the book the film was adapted from. Rather then embracing the characters and their lives, it seems as though the filmmakers want to keep us at arm's length from them.
"Feast" Needs Some More Courses December 21, 2007
7 out of 14 found this review helpful
Once again Morgan Freeman plays the wise, old sage in the cast. At this point, he has played a similar variation of this role so many times I think he should get a patent. Anytime someone wants this type of character in their film, they should only get Freeman to play the role, or pay him a royalty.
That said, Professor Stevenson, the narrator and guide through "Feast of Love", Robert Benton's ("Nobody's Fool") newest film is an interesting character. His narration while helpful is also problematic, serving to draw us out of the film and remind us of how episodic the story is, constantly reminding us of the book the film is based on.
Stevenson seems to have a lot of time on his hands and roams the Portland, Oregon neighborhood where he and his wife (Jane Alexander) live. He spends time at the local coffee shop, Jitters, owned by Bradley (Greg Kinnear) and staffed by Oscar (Toby Hemmingway). Stevenson watches as Bradley and Oscar fall in love, break-up and then fall in love again. As their circle of people grows, Stevenson becomes a member of this larger group. He returns home each day to relate the day's events to his wife. Stevenson is on a leave from the local university and seems determined to delay his return, as he deals with the grief of his adult son's death.
I wouldn't mind Stevenson's wise words and his sage advice nearly as much if he only discussed these moments with people. When Freeman starts to narrate the character's thoughts and feelings, he becomes too obtrusive into our interaction with the film. Also, these moments of narration are used to try to hide the episodic nature of the story. As soon as he relates an event in Bradley's live, we see an event in Oscar's life, and back and forth.
Freeman is, as always, good. It's just too bad his performance is so familiar.
Bradley, played by Greg Kinnear, is a bit too clueless to be likable. Initially, our interest is held as Stevenson wisely observes his relationship with his wife, Kathryn (Selma Blair). Just finished with a softball game, the Professor joins the younger couple at a local bar where Kathryn talks with Jenny (Stanza Katic), one of the players from the other female team. They form a friendship and Jenny recognizes Kathryn is interested in becoming more than just friends. Bradley is so clueless; he doesn't realize there is a problem until Kathryn is walking out of their house. Of course, Stevenson knows right away and tells his wife about what Bradley will soon discover.
Bradley decides to move, for a change of pace. His realtor, Diana (Radha Mitchell) shows him a house right next to Stevenson and he decides to take it. He also falls in love with Diana, who is a bit hurt her boyfriend, David (Billy Burke) won't leave his wife, relegating their relationship to torrid meetings in hotel rooms during lunch.
Oscar (Toby Hemingway), a young, blond, spiky haired guy with tattoos, seems to really enjoy his job at Jitters. One day, Chloe (Alexa Davalos) walks in looking for a job. He immediately agrees they need the help and Bradley gets the hint. Soon, Oscar and Chloe are in love and their story is, by far, the most romantic. But it also has a few plot contrivances more suited to an afternoon soap opera.
It seems odd to me that Stevenson and his wife, Esther (Alexander) don't interact with the other characters in the film more frequently, making them seem a bit disconnected, further reinforcing the strange feel of the narration. About halfway through, Esther and the Professor have wine with Bradley and Diana and start to participate with the others, making the film seem a little more real.
Benton is a very good director and he achieves a lot of visual moments that really speak volumes about the relationship between these characters. When Esther walks into her husband's home office, she notices he is working on his computer. "This is a welcome sight," she says. She soon learns he is writing a letter to the dean of his school extending his leave indefinitely. This is upsetting to her, but rather than start screaming, she pauses a moment and leaves the office, slamming the door. Stevenson pauses, without looking at the door. This is a telling moment, accurately reflecting the depth and length of their relationship.
Stevenson and Esther do a lot of observing when they are with the younger couples. Over their wine, the younger couple says things causing the older couple to pause. Later, they discuss the events amongst themselves. If they did this once or twice, it would be amusing and even interesting, but because it happens often, it seems as though this couple are supposed to be our guide into the lives of these characters. That's fine, too. But because they sit and watch so much, it makes them passive observers. Since we are sitting and watching a film, we are already a passive observer. What makes a film great is when you feel you are part of the story, the action, and the character's lives.
Fred Ward plays Bat, Oscar's abusive father. He only has a couple of scenes and in each he is drunk and over the top, so he fits the bill. But because he has no development, his character seems odd and since he really has no overall place in the story, his appearances only briefly make Oscar apprehensive. He really adds nothing to the story.
These complaints aside, the story about Oscar and Chloe really saves the film. From the moments Oscar spots Chloe, you can see the hunger in his eyes. As their relationship progresses, you believe they have each found their soul mate and are deeply in love. We learn things about their past and watch some of the decisions they make and this helps to make them more real. It doesn't hurt that Toby Hemingway and Alexa Davalos are both very good looking and create a lot of onscreen chemistry.
"Feast of Love" is clearly designed as a portrait of three different generations in love, and it works to a certain degree. But the strange choice of narrative device does nothing but serve to take us out of the film, make us a passive observer, and consistently remind us of the book the film was adapted from. Rather then embracing the characters and their lives, it seems as though the filmmakers want to keep us at arm's length from them.
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