Taglines: The story of a man who had everything, but found something more.
Regarding Henry movie storyline. Combining elements of A Christmas Carol and Rain Man (1988), this modern-day parable of greed and redemption was crafted with generous helpings of sentimentality by director Mike Nicholas. Harrison Ford stars as Henry Turner, a slick, ruthless corporate attorney willing to spin any falsehood to win a case. A bully to his teenage daughter Rachel (Mikki Allen), Henry also cheats on his wife Sarah (Annette Bening) and treats everyone from the maid to his assistant with cruel selfishness.
Stepping out to a local mini-market for a pack of cigarettes late one night, Henry accidentally interrupts a burglary and is shot in the head by a stick-up artist. After a long coma, Henry survives only to find that he has no memory and must re-learn everything from reading to tying his shoes. Reborn as a friendly, childlike innocent, Henry charms his therapist (Bill Nunn) and reconnects with his wife and daughter, only to uncover some secrets about how truly appalling he once was.
Regarding Henry is a 1991 American film drama starring Harrison Ford, Annette Bening, Michael Haley, Stanley Swerdlow, Julie Follansbee, Rebecca Miller, Bruce Altman, Elizabeth Wilson and Donald Moffat, directed by Mike Nichols. The film focuses on a New York City lawyer who struggles to regain his memory and recover his speech and mobility after he survives a shooting.
Film Review for Regarding Henry
Mike Nichols’ “Regarding Henry” opens with a portrait of a Manhattan lawyer as a driven, ambitious man who lives in great wealth and little happiness. Then a catastrophe occurs. He steps out one night to buy some cigarettes, and is shot in a holdup. One of the bullets penetrates his brain, and for weeks he drifts in a coma, until finally he awakens and the long process of rehabilitation can begin.
The movie is essentially about how Henry becomes more lovable and human as a result of his injury – how his soul is healed and his family saved by the experience. The shock of the bullet to his brain is diminished for the audience because all of the advertising for this movie, including the trailers and the TV commercials, spoil the surprise. But the movie isn’t really about the gunshot wound, anyway.
It’s about how a man becomes a child, and the change is for the better. The original Henry is played by Harrison Ford as a taciturn taskmaster who treats his young daughter as if she were a balky client and his wife (Annette Bening) as a partner with whom he is friendly but not intimate. After the grievous wound to his brain, Henry recovers into an altogether more pleasant person. He can remember almost nothing of his previous life, to be sure, and has to take it on trust that he has this wife and daughter. But with the directness of a child he values honesty and loyalty, two qualities the old Henry was not familiar with.
There is possibly a good movie to be found somewhere within this story, but Mike Nichols has not found it in “Regarding Henry.” This is a film of obvious and shallow contrivance, which aims without apology for easy emotional payoffs, and tries to manipulate the audience with plot twists that belong in a sitcom.
Genuine issues – such as the family’s economic insecurity and the wife’s reaction to the end of her days in a gilded cage – are glossed over. But there is time for a soap opera subplot about office affairs, and lots of time for Henry to confront the dishonesty in his old law firm.
For much of the film, Henry is an attractive, likeable, simple-minded and childlike character. But exactly how simple-minded? The movie seems to treat his mental acuity as a matter of convenience; he is childlike enough to say embarrassing things in public, but clever enough to know what’s really going on, and to outsmart his old law colleagues. A pattern emerges: We begin to notice, after awhile, that in any given scene Henry will possess the necessary mental development to deliver the punch line. He isn’t a character, he’s an act.
The wife and daughter are his props. Parts of Bening’s character seem to have been lopped away in the editing, so that she asks questions that are never answered. Try to follow, if you can, her thoughts about her family’s financial situation, as Henry eventually loses his income and the family moves to a smaller (but by no means shabby) home. There are all sorts of little scenes scattered through the movie that seem intended to make the financial situation into an important subplot, but there’s never a payoff. It’s dropped.
Ask yourself, too, exactly what goes on in the physical life between husband and wife, and you’ll find another thread that’s hard to untangle. A little easy romance glosses over what should have been scenes of awkward rediscovery. Bening and Ford work hard during their more intimate scenes together, but they haven’t been given the dialogue of truth and tentative exploration that they need to work with.
The screenplay by Jeffrey Abrams, in fact, constantly goes for the laugh over the possible reality. It has an annoying trick of teaching Henry a new word and then having him proudly trot it out to wrap up a complicated scene. The way the movie makes a connection between Ritz Crackers and the Ritz-Carlton hotel is especially annoying, combining cheap sentiment with a cheap laugh – and cheap product placement.
I was not very moved, either, by the process of Henry’s physical and mental rehabilitation, during which a physical therapist (Bill Nunn) uses Pavlovian techniques to restore Henry’s powers of speech. (He can’t say anything? Put a lot of Tabasco on his eggs – that’ll get him to talk!) Compared to the real-life experiences of gunshot victims like James Brady, Henry’s experiences belong in a sitcom. All of the stages of his recovery correspond neatly to the requirements of the plot.
The ending of the film shows Nichols reaching back to the barn-burning formula that paid off for him in “The Graduate,” where Benjamin disrupted the wedding ceremony with his cry of anguished hope and love. Again this time, the ritual of a staid public ritual is rudely interrupted by the arrival of a seeker after truth. But it’s so neat, so formula, so contrived, I was thinking about “The Graduate” instead of about characters I had spent two hours with. So, I suspect, was Nichols.
Regarding Henry (1991)
Directed by: Mike Nichols
Starring: Harrison Ford, Annette Bening, Michael Haley, Stanley Swerdlow, Julie Follansbee, Rebecca Miller, Bruce Altman, Elizabeth Wilson, Donald Moffat
Screenplay by: J. J. Abrams
Production Design by: Tony Walton
Cinematography by: Giuseppe Rotunno
Film Editing by: Sam O’Steen
Costume Design by: Ann Roth
Set Decoration by: Susan Bode, Cindy Carr, Amy Marshall, Trisha McCormick
Art Direction by: Dan Davis, William A. Elliott
Music by: Hans Zimmer
Distributed by: Paramount Pictures
Release Date: July 12, 1991
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