Read Ebook {PDF EPUB} by Elizabeth Angus Love at Large by Elizabeth Angus. Specs: 6-10’ tall x 4-6’ wide. Can be pruned to stay smaller. Performs best in zones 9-11, but can be used as annual color in colder climates. Full, direct sun. Minimum 5 hours a day. The vibrant pink Elizabeth Angus does well in all applications as responds well to pruning on trellis or as patio tree. However, this plant does equally as well when aggressively pruned bush or hanging basket as tends to trail its runners more readily than other varieties. If this variety is left to grow will reach 6-10 feet high and 4-6 feet wide with dense foliage and thorns that are not particularly large relative to other varieties. MOVIE REVIEW : ‘Love at Large’: Romantic, Woozy Film Noir from Rudolph. The writer-director Alan Rudolph is capable of creating self-enclosed universes that clock to the metronome of his own private dream-time. He has such an intuitive grasp of the more ethereal reaches of the film medium that his movies--at least his “personal” ones, like “” and “Trouble in Mind” and “"--appear to be unmediated registrations of his muse. For better and for worse, these movies are unmistakably his . Rudolph’s new film “Love at Large” (throughout San Diego County) exhibits many of his trademark virtues and faults. It has a wonderful premise but little “follow through.” The performers are fascinatingly cracked but, finally, wispy. The atmosphere, full of existential wheeziness and film noir shadowing, is overpoweringly inauthentic. “Love at Large” is, of course, authentic to Rudolph’s own vision, but it’s not a vision I particularly care for--or have been made to care for. There’s a self-indulgent languorousness to the worst of Rudolph that’s so woozy and chichi that it’s practically an affront. Still, you can’t dismiss Rudolph at his best, and about half of “Love at Large” is effective in ways that perhaps only he could have brought off. Harry Dobbs (Tom Berenger) is a scruffy, mediocre private detective hired by a sultry shady lady (Anne Archer) to tail her lover. He ends up mistakenly tailing another man (Ted Levine) who perfectly matches the lover’s ID and, in the process, discovers he’s being followed by another private eye, the equally inept Stella Wynkowski (Elizabeth Perkins), whom Harry’s volatile girlfriend (Ann Magnuson) has set upon him. The fascination of this premise is that the man Harry is following turns out to have a secret life. It’s as if Rudolph was saying that, chosen at random, anybody’s life is ultimately a mystery--a story. It’s a thematic variation on the famous opening shot in “Psycho,” with the camera randomly picking out a window in an apartment building, as if the lives of any of the apartment’s other inhabitants could yield up an equally curdling tale. The Chinese-box spy-within-spy scenario reinforces the movie’s free-floating ambiguousness. The world of “Love at Large,” a vaguely Pacific Northwest-like never-never land, is one in which you never know if you are the spy or the one being spied upon, or both. Rudolph chooses not to employ this plot for its melodramatic-existential charge. Its pulp possibilities are jettisoned in favor of something more vague and more weird, and more sentimental too. The movie turns into a fantasia on themes from film noir classics, and Rudolph applies to these themes his familiar high-art varnish. He locates the soft romantic heart in pulp crime fiction. Harry Dobbs--is his name a nod to Bogart’s Fred C. Dobbs?--recognizes in Stella a soul mate. It’s not just that both spies are incompetent. On some wispy, preconscious level, they both understand the joke of their existence. They are detectives, hired to root out other people’s mysteries, who can’t the mysteries of their own lives. Rudolph is unusual among directors of such rarefied sensibility in that he has a genuine love of actors. Berenger is marvelously hangdog here, like a dreamier version of Elliott Gould’s Philip Marlowe in Altman’s “The Long Goodbye.” Perkins has the ability to seem wised-up and dazed in the same moment, a requisite Rudolph combo. She’s charming. In cameos, Annette O’Toole and Kate Capshaw, as the mystery man’s women, are intense and striking, as if, at any moment, the film could run with their lives and we’d stay enthralled. By making explicit the romanticism in film noir , Rudolph, I think, devalues it. The ardor of the genre was always in the stylistics, the mood, much more than in the ostensible scenarios. The most romantic films noir often featured no love stories at all. The lovelorn confab between Harry and Stella seems facetious, particularly since it’s tricked up with inexplicably wacky touches: Harry speaks in a comically gruff voice, like a Sunday-morning TV cartoon character; Stella is given to reading, on the sly, trashy how-to love manuals. It’s cornball mysticism, and ultimately at the service of an ah-sweet-mystery-of-love message. When Anne Archer’s character belts out a bluesy version of “You Don’t Know What Love Is,” the luscious camera moves are at the service of a mock-satiric conception. We’re cued to respond to the passion, the “truth,” of her words even as we’re meant to laugh. Is there any other film maker who can combine in such hefty quantity stylistic sophistication and adolescent mooniness? An Orion Pictures Corp. release. Producer David Blocker. Director/screenplay Alan Rudolph. Cinematography Elliot Davis. Music . Production design Steven Legler. Costumes Ingrid Ferrin. With Tom Berenger, Anne Archer, Elizabeth Perkins, Kate Capshaw, Annette O’Toole, Ted Levine, Ann Magnuson. Running time: 1 hour, 58 minutes. MPAA-rated: R (under 17 must be accompanied by parent or adult guardian.) A Case for Elizabeth Perkins : Film: The actress tackles the role of a detective searching for romance in ‘Love at Large.’ Even now, four years after her film debut as ’s caustic, unstylish friend in “About Last Night . . . ,” Elizabeth Perkins can walk into producers’ offices and still notice looks of surprise. “You can tell they’re thinking, ‘She’s much more, uh, attractive than we thought she was going to be.’ ” Perkins smiles mischievously. “There’s this little side of me that wants to say, ‘It’s called acting. It’s what I do for a living.’ ” In “Love at Large,” Perkins is acting the part of a woman shielding her insecurities behind the tough-guy facade of a detective. On her first job, she is shadowing a man (Tom Berenger) who happens to be another detective shadowing someone else. Alan Rudolph, the writer-director of “Love at Large,” said he found in Perkins an actress for all ages. “Elizabeth could have been a movie star in the ‘40s,” Rudolph said. “They had faces then. So does Elizabeth. She brings a sexy, quirky vulnerability to the screen.” Speaking animatedly during an interview in her publicist’s office, the chain-smoking, 29-year-old actress--Tom Hanks’ co-star in “Big"--displays yet another Elizabeth Perkins. This one is chatty, bemused, extremely articulate in discussing both her films and her career. Except for the occasional pause to light a cigarette, the words come in a steady wave. When she first read Rudolph’s script, she felt, “My God, this guy knows me.” As it happens, he did; Rudolph and Perkins are old friends. But after a couple of days of shooting in Portland, Ore., she said Rudolph stopped a scene and told her, “Elizabeth, I’m just looking for you.” “He really demanded that I use most of my personal experiences and personality. That’s a very uncomfortable thing for an actor to do. Like going on ‘The Today Show,’ you’re completely exposed without the protection of a character to hide behind.” Like Rudolph’s “Choose Me” and “Trouble in Mind,” “Love at Large” is a stylized meditation on romance set in a mythic urban landscape. Everyone, in a sense, is a detective; everyone is trying to track down true love. “Stella is a searcher, somebody who is continually looking for that light at the end of the tunnel or that person who’s going to be the consummation of love in her life,” Perkins said. “I think that’s why Alan chose for his two leads to be detectives. Both are looking for something they’re lacking in their lives. I think I can relate to that . . . I’m constantly looking for explanations or some other meaning to life. Or at least something new.” That search began in the perfect atmosphere. She grew up in an isolated environment on a 600-acre farm in southern Vermont. “That played an enormous part in my becoming an actress. Any child that isolated will develop an overactive imagination. I used to be absolutely fascinated when I was around people.” After high school, Perkins moved to Chicago and was there during that city’s theatrical explosion of the late ‘70s. She attended the Goodman Theater School and performed locally. Then one day she impulsively moved to New York. Within two weeks she landed a part in the touring company of Neil Simon’s “Brighton Beach Memoirs” and later played the role on Broadway. Then came “About Last Night . . . " the movie adaptation of David Mamet’s 1972 play about the Chicago singles scene, “Sexual Perversity in Chicago.” Her character, Joan Gunther, was a plain, tasteless woman embittered by male exploitation and rejection. In other words, the kind of role many actresses would shrink from. “That never crossed my mind. Friends would say, ‘I can’t believe you did that on film, especially your first movie. She is so unattractive and that hairdo and those clothes and she’s has such a mean spirit.’ I never thought that it would do something to my career, that it would be the way people perceive me.” Perkins’ next two films--"Sweet Heart’s Dance” and “From the Hip"--were pretty forgettable, then came “Big,” as in big break. “At least it was a departure from the role in ‘About Last Night . . .,’ ” she said. “That’s what I’d been identified as. But the minute ‘Big’ came out, I became the uptight executive with a heart of gold deep down inside somewhere. “So (every script submission) I got was an uptight executive with a heart of gold deep down inside somewhere. It wasn’t until I read Alan’s script that I got anything different.” Perkins said she was also attracted to the project because of the presence and treatment of women in the film. “All are extremely different. Alan is one of the only writer-directors who has the ability to instill both feminine and masculine qualities into a film.” The romanticism in Rudolph’s films create a nether world free of time and place. They lie somewhere in the dream world of movies, where the characters can unlock their hearts’ secrets. “Alan doesn’t like the production or costume design to interfere with the emotional life of his characters,” Perkins said. “So his scenarios become very undefinable. The concentration is on what the characters are going through.” Perkins made two other films last year. In “Enid Is Sleeping,” shot in Santa Fe, N.M., she enjoyed her first full starring role, where her character carries the picture. “I play a bleached blond, a very lost Southern soul who accidentally murders her sister with a large ceramic clown.” In Barry Levinson’s “Avalon,” filmed in Baltimore, she joined an ensemble cast that includes Joan Plowright, Armin Mueller-Stahl, and Aidan Quinn in a tale about Jewish-Polish immigrants from 1914 to 1963. “Me and Aidan Quinn playing Jews--kind of interesting,” mused Perkins, who is herself Greek. Perkins has recently settled into a home she bought in Hancock Park and says she’s not anxious to get back to work soon. “Ten and a half months on the road doing three pictures last year--I’m in no hurry to leave home again.” Love at Large. Vampish miss Dolan hires hardboiled P.I. Harry Dobbs to tail her shady boyfriend. Harry realizes that the man leads a double life but then his client disappears. Harry teams up with his own tail, P.I. Stella Wynkowski, to clear things up. Director. Producer. Writer. Editor. Cinematography. Production Design. Composer. Studio. Country. Language. Genres. 97 mins More details at IMDb TMDb Report this film. Popular reviews. Thinking about becoming an Alan Rudolph guy. He’s got such a weird energy, reality and movieness mixed ever so slightly out of phase, like a world half-remembered through a hungover haze. I think a lot of it may come from Rudolph’s casting. Tom Berenger, who is so good playing hard men, like his weary psychopath in Platoon, playing a dopey but genuine private eye. Ann Archer and Elizabeth Perkins, who look so much alike, playing vastly different versions of movie women. Ted Levine playing a bigamist: in one world he’s an accountant, in another a cowboy. Neither fits, but both are somehow accurate. Leonard Cohen and Warren Zevon on the sound track, with Neil Young playing some kind of gangster, or something. I don’t know: his plot is literally left hanging. Head-scratchingly undefined gruel - something of a tongue-in-cheek noir throwback, but it almost never tries to be funny, or even commit to noir exaggeration on a serious level? A mystery we're supposed to be invested in? A love story? A witty mixture of all those things? Tom Berenger affects a wtf Nick Nolte-esque growl as a P.I. schmuck hired by breathy femme fatale caricature Anne Archer to spy on her three-timing lover Ted Levine (who acts like he's in a grim domestic drama), only to realize that he himself is being tailed by P.I. Elizabeth Perkins (who acts like she's in a regular modern rom-com) for some reason. Kate Capshaw has a prominent role but barely seems to exist in… Alan Rudolph is one of those director whose work seems to elude me a little bit; Love at Large has a wonderful tone and terrific comedic performance from Berenger, but for me it has too many slack stretches to land on its feet. There'a s LOT to like here though, great performances and cast all around (Anne Archer, Kate Capshaw, Annette O'Toole, Ted Levine, Neil Young [. ]) and the moments that made me laugh seem to hit this perfect little target that they're going for. Like CHOOSE ME, this is a movie I feel will need some time to stew and maybe a revisit before I fully grasp how I felt about it. I'll still be looking into finally seeing TROUBLE IN MIND and for sure. This has become not only my favorite Alan Rudolph film, but one of my favorite films, period. I find the mix of 30s screwball comedy, 40s film noir, and 80s notions about love and dating so odd yet ingratiating. It reflects a very personal affection for genre cinema and a desire to connect it to real life—or maybe that's a desire to enhance the tribulations of real life (neuroses, messy relationships, etc.) with the pleasures of genre cinema. The banter is wonderful; some exchanges make me grin from ear to ear no matter how many times I hear them. ("What makes you so sure he has two families?" "Because most bigamists do.") I also love Rudolph's affection for the scenic… My Alan Rudolph kick continues. This one’s just pure joy. A screwball noir melodrama. Berenger doing Waits. Perkins seeming straight out of some lost ‘30s or ‘40s Hawks movie. Archer’s Miss Dolan like Dorothy Vallens Lite. Neil Young as the villain. Buffalo Bill as a bigamist. Ruby Dee stealing the scene she’s in. Warren Zevon and Leonard Cohen on the soundtrack. Double lives. Mistakes made, wrong paths followed. People watching people watching people. Everything I love most. Tom Berenger sounds like he gargles razor blades but that doesn't prevent his private dick from spitting out oodles of overripe dialogue and uncovering Ted Levine's double life in Love At Large. The list of tough dames to tangle with includes Annette O'Toole, Ann Magnuson, Anne Archer and Elizabeth McGovern. Neil Young even pops a couple of times and gets real smarmy. Interesting cast, right? Mark Isham's trumpets bleat in the background while Warren Zevon and Leonard Cohen croon in this fluid noir pastiche that winks at the viewer while rejecting irony at the same damn time. It's all nice and silky even if it doesn't reach the deliriously romantic heights of Choose Me and Trouble In Mind or the… Tom Berenger introducing himself to a young girl as Harry Johnson has to be the comedic nadir of Alan Rudolph's career. It takes all of thirty seconds for this film to announce itself as being unmistakably the work of Alan Rudolph, a marginal, idiosyncratic American director who some may recognize as 's longtime AD. Despite their association, Rudolph is a very different talent from Altman. Whereas Altman is known for his improvisation on set and for the freedom he gives his actors, Rudolph's style as a director is defined by a very specific and highly-stylized manner of dialogue, as distinctive and unmistakable as that of David Mamet or Hal Hartley (an acknowledged Rudolph fan). This heightened, mannered, rather arch delivery is married to an unabashedly dreamy, romantic sensibility that constantly skirts the line between corny and ironic. Big tunes for the soul. Even when he’s trying and somewhat failing to recreate the magic of earlier triumphs like Choose Me and Trouble in Mind, Alan Rudolph’s goofy, noir-inflected romanticism is hard to resist. “You don’t know what love is until you learn the meaning of the blues,” Anne Archer’s sultry chanteuse sings in some version of Portland just slightly more neon-lit and smokier, slightly more lovelorn than the real thing. Tom Berenger’s gristly, gravelly voiced private eye (“Who says I can be trusted?” “I saw it in a phone book in the train station”) gets himself enmeshed in an ever-widening case of mistaken identities, tailing a wrong man whose secrets are even more surprising than those of the right one, while being tailed… "You get too close to your subjects, Mr. Dobbs." Nobody does stylish anachronism like Alan Rudolph. He's also not afraid to let some of his actors deliver highly mannered performances (Tom Berenger's gruff-voiced private detective, Anne Archer's breathy femme fatale, Ann Magnuson's jealous girlfriend) while others are completely naturalistic (pretty much everyone else). Alan Rudolph plays with genre so effortlessly, and with such guile, that most film fans still don't give him much consideration. This is a filmmaker everyone needs to play catch-up with. At first glance it appears something very silly, a silliness amplified by Tom Berenger's shaggy comic performance as Private Investigator, Harry Dobbs. It's a great turn from Berenger and when you begin to realize it's also a distillation of male anxiety in the face of love--men become dopey and Dobbs can out-dope the best--you begin to understand Rudolph's subtle artistry. Dobbs gets embroiled in a confused investigation involving a bigamist and a mobster and you watch, impressed, as Rudolph handles the material and all its crossover mishaps with an… Recent reviews. This is a slightly odd romance film where various people either couple up or consciously uncouple. That makes it sound a bit like Love Actually but trust me it's a lot better than that. The whole thing is presented as a film noir of indeterminate setting which makes it simultaneously quite stylish but also a little cartoonish. In particularly the gruff Bogart-esque voice which Tom Berenger adopts goes a little too far towards straight up parody. an abstract script keeps things interesting Love at large opens up with a leonard cohen song and the film pretty much keeps that tone. "Harry, if you were born stupid you're now having a relapse." For my Sunday Noir Series, I decided to try Alan Rudolph's LOVE AT LARGE. Not exactly sure it qualifies as noir, even though our hero, Harry Dobbs, is a dopey, gravel-sounding private investigator (Tom Berenger) who takes a case from alluring femme (Anne Archer) Ms. Dolan. She wants him to follow her boyfriend, Rick. Only the description is so vague that Dobbs tails the wrong guy (Ted Levine) - a bigamist that is either an accountant with wife Annette O'Toole or a rancher with wife Kate Capshaw. At the same time, he's is being tailed by another investigator (Elizabeth Perkins). Women are all around Berenger, and Cupid's arrow is… Wow, a fun time! The circle remains unsquared! There was a nice, vaguely profound line of dialogue but I can’t remember it now. See if you can guess. (Hint: it’s not “Ah, life”) Tom Berenger talks like Beetlejuice and the Bernard Shakey cameo is mind melting. Very cool! Love at Large sees Rudolph linking love triangles together like magician's rings, his character's romances branching off, intersecting and looping back on one another as Harry Dobbs —alias Harry Dick— bungles his PI case spectacularly. If the film is less fascinating than his last few outings — Trouble in Mind and The Moderns are particular stand outs— its no less ambitious and seems the logical progression, possibly the breaking point, in the Rudolph hyper-soap opera construction. As the team of PI's split to uncover the truth behind Frederick King's (Ted Levine) double life, Love at Large presents romance and love as the only truly worthy mystery… Filmed in Portland. trying to do David Lynch, humorlessly, badly. The lead sounds like a fart with a larynx. I didn't pay attention to 80% of this movie but that doesn't matter because this movie is nothing. The money would've been better spent investing in index funds and just sitting around doing nothing for 31 years to save me from even having to write this "review". Leonard Cohen song interspersed throughout the movie does the song nor the movie any favors. One shining part: the idea of a film taking place in a present that is much like the past. Something fascinating about that. Anyway I enjoyed looking at the fleeting glimpses of downtown Portland I vaguely recognized. This love pentangle oughta be sacrificed to a more lenient deity than I. The cab driver was kinda funny I guess. Wow. This is nearly unwatchable. Why wouldn't they just make it a straight mystery instead of comedy mixed with Anne Archer trying desperately to be the irresistible 40's flame. What a cast for something that is just a hot mess. I found that I had this on DVD so I watched. It was a part of a Film Noir collection. Make no mistake this in no way is a noir nor is it a spoof of one. Hats, old timey microphones and wailing saxophones is what it has. Should have expected that Rudolph's one shot at a conventional noir would be anything but. Characters, plotlines, and time periods slide against each other like identical poles on magnets; and occasionally, they click together. can’t really say what goes on here, but love the vibes and love anne archer hamming it up. This has become not only my favorite Alan Rudolph film, but one of my favorite films, period. I find the mix of 30s screwball comedy, 40s film noir, and 80s notions about love and dating so odd yet ingratiating. It reflects a very personal affection for genre cinema and a desire to connect it to real life—or maybe that's a desire to enhance the tribulations of real life (neuroses, messy relationships, etc.) with the pleasures of genre cinema. The banter is wonderful; some exchanges make me grin from ear to ear no matter how many times I hear them. ("What makes you so sure he has two families?" "Because most bigamists do.") I also love Rudolph's affection for the scenic… Ann Archer as a nightclub singer on K? HOTT! Tom Berenger’s pigeon lady hat ruined it for me. Review/Film; Berenger as a Private Eye In Rudolph's 'Love at Large' Alan Rudolph operates on the cinema's dog-whistle frequencies, emitting a signal that's perceptible to only a select few. His latest film, ''Love at Large,'' features a theme song by Leonard Cohen, a mock 1940's ambiance and this film maker's customary band of lovelorn, soft-hearted adventurers rearranging their romantic destinies over and over again. In its own misty, coy and very precious way, it does have style and heart. There's an audience out there for it somewhere. You know who you are. Once again, the director of ''Choose Me,'' ''Made in Heaven,'' ''Welcome to L.A.'' and ''The Moderns,'' among others, has rounded up the usual suspects. The names and faces may have changed, but the types remain constant. Anne Archer has something like the role, as the wounded, mesmerizing beauty around whom the story revolves. Elizabeth Perkins, as the feisty, pesky, faintly humorous woman with a mission to expose the amorous treachery of others, follows in the footsteps of Genevieve Bujold. Tom Berenger, as the private investigator who is himself looking for love, affects an amusing gruffness and does a good job with what would otherwise be the role. The fringes of the film are populated by oddballs and ringers who help to create the distinctive Rudolph flavor. Ann Magnuson makes a vivid impression by throwing things at Mr. Berenger in the film's opening scene, and Kate Capshaw is distinctively odd as the ultra-normal wife of a bigamist who happens to have a surreptitious life of her own. Once again, Mr. Rudolph has found an acting role for Neil Young, who turns up in a dressing gown. Mr. Rudolph, who wrote and directed ''Love at Large,'' has learned to spin together performers like these in ever more graceful and evocative ways. This time, his film has a half-glamorous, half-facetious pulp-fiction feeling, as best exemplified by the slithery figure of Ms. Archer wearing a strapless gown with a diamond bracelet over her black glove and ordering ''a Manhattan in a champagne glass.'' The dialogue is moderately playful, as in ''How true it is I can't tell you. I know it to be a fact.'' Inevitably, there comes a time when the joke is over and the film is not. ''Love at Large'' was shot in Portland, Ore., which is used very effectively, and has a time frame that's intentionally uncertain. The film appears to start off in the cold, hard present and ease into the romance of the 1940's as if slithering into a warm bath. Among the settings with which the director has the most tongue-in-cheek fun are the hotel suites in which Ms. Archer models many a negligee, the sleek, swanky nightclub called the Blue Danube, and a picture-perfect suburban house at which Annette O'Toole, as the other wife of the aforementioned bigamist (played by Kevin J. O'Connor), bides her time. ''Anxiety! It's the devil's impatience,'' Ms. O'Toole must say. Not all of Mr. Rudolph's actors are up to the archness of his dialogue. HIDDEN LIVES - LOVE AT LARGE, written and directed by Alan Rudolph; director of photography, Elliot Davis; film editor, Lisa Churgin; music by Mark Isham; production designer, Steven Legler; produced by David Blocker; released by Orion Pictures. Running time: 97 minutes. This film is rated R.