Leoni Takes Over Mugging Duties From Sandler

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By Lisa Rose
Newark Star-Ledger

Posted: December 17, 2004

"Spanglish" would be a perfectly mediocre dramedy if not for one monstrously bombastic performance.

And surprisingly enough, Adam Sandler isn't the culprit. While the comedic superstar delivers admirably downtuned work, Tea Leoni mugs without remorse, compromising the credibility of every scene she's in.

The actress shoulders only part of the blame. As written, her character is a crudely drawn banshee of a housewife whose behavior is downright loathsome. For instance, she goads her overweight daughter to diet by purchasing clothes for her one size too small.

When Leoni isn't around, the film works reasonably well, depicting how worlds and worldviews collide when a Mexican single mom, Flor (Paz Vega), takes a job as a maid with a family on the brink of collapse.

Moving from a Los Angeles barrio to the wealthy hinterlands with her 12-year-old daughter, Flor faces the challenge of living in a culture that's foreign to her without compromising her identity. Her employers are John (Sandler) and Deb (Leoni), a couple going through a turbulent transitional phase as their careers follow opposite trajectories. Passive-aggressive power struggles and forbidden flirtations ensue.

James L. Brooks, whose last picture was 1997's "As Good as It Gets," strives to gets a great deal of thematic mileage from a modest storyline. The film covers a number of issues he's addressed in the past. Like "Terms of Endearment," the movie features a marriage fractured by infidelity, and like "Broadcast News," it shows a character struggling not to betray her ideals.

"Spanglish" doesn't match Brooks' prior efforts because the characters are too broadly written. Flor and John are household saints, while Deb is a pariah. Her transgressions are mere plot devices to justify the romance that blooms between husband and servant.

Poor Cloris Leachman is stuck playing the boozy, wisecracking grandma, though the veteran actress does have some deliciously wry moments when her character sobers up toward the end of the story.

Historically, Sandler's films have hinged on his, er, distinctive persona. Even his art-house breakthrough, "Punch-Drunk Love," was just another helping of angry clowning, dressed in symbols and surrealism. Here, he allows the story to take precedence and tries to play someone other than himself. He tries, at least, but doesn't succeed. His performance is like Sandler unplugged, revealing grave limitations in his ability to hit emotional notes outside his usual repertoire.

The bright light in the ensemble is Vega, a glamorous Spanish actress best known for her work in "Talk to Her" and "Sex and Lucia." Since Flor only begins to learn English during the film's second half, most of the character's emotions are expressed through gestures. Vega outshines her chatty co-stars with quiet lucidity and careful nuance.

As far as the younger cast members go, newcomer Shelbie Bruce holds her own with the grown-ups, portraying Flor's daughter, who is tempted to turn against her mother when Deb lavishes her with gifts and attention. Sarah Steele is less effective as John and Deb's child, unable to rise above the bad writing. Her character is precious-beyond-measure, the sort of kid that exists only in warm-hearted comedies like this one.

"Spanglish" is long, laugh-starved and ladled with excessive sentiment. While the movie has a lot to say, it speaks slowly and didactically.