“Michael 1996” is a comedy-drama film about an angel who descends on Earth. He appears as a rugged man with wings and the ability to eat large amounts of sugar and smoke cigarettes without any consequences. He’s been sent by God to take part in a human interest story, but he has his own agenda. The movie follows him and his group of companions on a road trip across the US as they search for adventure, love, and redemption. Along the way, they encounter strange characters, heartwarming moments, and life-changing experiences. Michael’s quirky personality and childlike innocence make him endearing yet unpredictable, causing chaos wherever he goes. Ultimately, the film explores themes of love, faith, mortality, and the human condition with humor and sincerity.
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Review
The Unexpected Magic of “Michael”: A Story about Love and Angels
Have you ever watched a movie that surprised you with its warmth and wisdom? That made you laugh and cry, think and feel, all at once? That left you with a sense of hope and gratitude for life? If not, or if it has been a while, I invite you to watch “Michael”, a 1996 romantic comedy-drama directed by Nora Ephron and starring John Travolta as an angel named Michael.
Based on the premise that angels sometimes come to Earth to help humans in mysterious ways, “Michael” follows the journey of three journalists who are sent by their boss to investigate whether an elderly woman in Iowa has really seen an angel in her backyard. The trio consists of Frank (William Hurt), an aging cynic who has lost his passion for writing; Huey (Robert Pastorelli), a loquacious photographer who loves food and women; and Dorothy (Andie MacDowell), a skeptical editor who believes in facts but not feelings. Together, they embark on a road trip with Michael, whose appearance is unexpected but irresistible.
What makes “Michael” stand out from many other angel-themed movies is its earthy humor, its vivid characters, its tender romance, and its underlying message about the beauty and fragility of life. From the moment Michael enters the story, he captures our attention with his bizarre behavior: he smokes like a chimney, drinks like a fish, dances like an elf, flirts like a devil, eats like a horse, sings like an angel (surprise!), and tells tall tales like an artist. He also has wings that nobody cares about except him. His energy is contagious – he radiates joy wherever he goes – but his motives are mysterious. Is he really an angel or just a charlatan? Is he here to save someone or himself?
As we get to know Michael better, we discover that he is both more and less than we expected. He has a big heart but also a troubled soul. He loves life but also fears death. He helps others but also needs help. He enjoys his freedom but also craves his fate. He embodies the contradictions of human nature, and yet, he transcends them. His presence reminds us that life is short, uncertain, and precious, and that love is the only thing that makes it meaningful.
The storyline of “Michael” is simple yet effective. It takes three skeptical people on a journey of faith, hope, and love. It challenges their assumptions about themselves and each other. It exposes their weaknesses and strengths. It makes them confront their fears and hopes. And it transforms them in ways they never imagined possible.
The plot of “Michael” is full of surprises that keep us engaged from start to finish. We never know what Michael will do next or why, but we trust him anyway because he exudes sincerity and charm. We follow the journalists as they visit various places where Michael has made an impact on people’s lives – a diner where he taught a cook how to make a perfect pie; a motel where he gave advice to a newlywed couple; a bar where he danced with the locals; a hospital where he comforted a dying boy; a church where he sang with the choir – and we witness how their attitudes towards him change from skepticism to awe, from annoyance to admiration, from distance to intimacy.
The facts about “Michael” are interesting in hindsight. The movie was not well-received by critics when it came out in 1996 – some reviewers called it shallow or silly or clichéd – but it became a sleeper hit at the box office, earning more than $100 million worldwide on its modest budget of $50 million. The cast of “Michael” is impressive – John Travolta brings his signature charm and energy to the role of Michael, William Hurt adds depth and humor to Frank, Robert Pastorelli steals scenes with his comic timing as Huey, Andie MacDowell shines as Dorothy, and Jean Stapleton gives a poignant performance as Pansy Milbank, the woman who saw an angel. The soundtrack of “Michael” features classic songs from the 60s and 70s that fit the mood and tone of the movie perfectly – “Chain of Fools” by Aretha Franklin, “La Bamba” by Ritchie Valens, “Time Has Come Today” by The Chambers Brothers, among others.
The acting and characters of “Michael” are well-crafted and memorable. Travolta’s portrayal of Michael is both quirky and tender – he balances his zany behavior with his insightful comments about life and death. He also has chemistry with all three journalists – he challenges Frank’s skepticism, matches Huey’s enthusiasm, and softens Dorothy’s aloofness. Hurt’s performance as Frank is nuanced and believable – he conveys a sense of weariness that comes from years of disappointment in himself and the world around him. He also has a good rapport with Huey and Dorothy – he shares jokes with Huey and reveals his vulnerability to Dorothy. Pastorelli’s portrayal of Huey is hilarious but not one-dimensional – he shows us how food is more than just fuel for him; it is a metaphor for love, comfort, connection. He also has a touching scene in which he confronts Michael about his own mortality. MacDowell’s performance as Dorothy is understated but impactful – she plays the straight woman to Michael’s antics but also reveals her softer side when she opens up about her past.
The history of “Michael” reflects some cultural trends of its time. The mid-90s were a period when Hollywood was interested in exploring spiritual themes in popular movies – other examples include “City of Angels” (1998), “The Preacher’s Wife” (1996), and “Phenomenon” (1996). These movies shared a common theme of angels or miracles intervening in people’s lives, challenging their rationalism, and inspiring their faith. They also featured A-list actors who were known for their charm and versatility – Nicolas Cage, Denzel Washington, and Travolta respectively. At the same time, the mid-90s were also a period when romantic comedies were at their peak in terms of popularity – other examples include “You’ve Got Mail” (1998), “The Truth About Cats & Dogs” (1996), and “My Best Friend’s Wedding” (1997). These movies shared a common theme of love or friendship overcoming obstacles, humorously or poignantly.
The score and popularity of “Michael” are impressive considering its initial reception. The movie features a mix of oldies but goodies that evoke nostalgia and joy – they are played at appropriate moments that enhance our emotional response to the story. The most memorable scene involving music is probably when Michael sings “Chain of Fools” while dancing with Dorothy in a bar – it is a moment that captures the essence of the movie’s spirit. The popularity of “Michael” has endured despite its flaws – many viewers have found it to be an uplifting and entertaining movie that makes them smile and reflect on life. It has also inspired some interesting fan theories about its deeper meanings and themes.
The filming and evaluation of “Michael” showcase Ephron’s talent as a director who can balance humor and pathos effectively. She uses visual cues to convey character traits or moods – Michael’s wings, Frank’s typewriter, Huey’s camera, Dorothy’s notebook. She also frames shots cleverly to show us different perspectives on situations – Michael sitting alone in a car while the journalists talk outside; Michael singing in a church while the choir looks amazed; Michael eating pie with relish while the cook watches him curiously. She also allows the actors to improvise some of their lines, which adds spontaneity and authenticity to their interactions.
The awards and cinematography of “Michael” were not groundbreaking but respectable. The movie received two Oscar nominations – for Best Original Song (“I Finally Found Someone” by Barbra Streisand and Bryan Adams) and Best Sound (Les Fresholtz, Chris Carpenter, Rick Alexander, Vern Poore) – but did not win either. The cinematography by John Lindley is competent but not showy – it captures the beauty of Iowa landscapes and sunsets without distracting from the characters or story.
The opinion and scenes of “Michael” are varied but mostly positive. Some critics have praised its charm and humor, while others have criticized its predictability or sentimentality. Some viewers have resonated with its message of love and faith, while others have dismissed it as fluff or fantasy. However, there are some scenes that stand out as highlights of the movie – Michael serenading Pansy Milbank with “That’s All Right”; Michael encouraging Frank to write again by showing him a secret library; Michael teaching Huey how to dance cheek-to-cheek with Dorothy; Michael confessing his fear of death to Dorothy on a rooftop.
The gossip and soundtracks of “Michael” are intriguing but not scandalous. One interesting fact is that Travolta gained weight for the role of Michael by eating junk food like donuts and burgers – he reportedly gained over 20 pounds in a month! Another interesting fact is that Ephron initially wanted Tom Hanks to play Frank instead of Hurt, but Hanks declined because he did not want to repeat his previous collaboration with Ephron (“Sleepless in Seattle”). As for the soundtracks, they are mostly nostalgic hits from the 60s and 70s that fit the themes and moods of the scenes – they include “Walk Away Renee” by The Left Banke, “Take Me Home, Country Roads” by John Denver, and “Let’s Stay Together” by Al Green.
The analysis and special effects of “Michael” are not complex or flashy. The movie does not rely on technological gimmicks to create its angelic atmosphere – it uses simple tricks like wind machines, fog machines, or beam lights to suggest Michael’s other-worldly presence. The effects are mostly practical but effective – they enhance our suspension of disbelief without distracting from the story or characters. As for the analysis, there are some interesting interpretations of Michael’s character that go beyond his surface traits – some viewers see him as a metaphor for God or Jesus who comes to Earth to show humans how to love; others see him as a symbol of human potential that transcends limitations and labels.
The development and dialogue of “Michael” are key strengths of the movie. The dialogue is witty, insightful, and natural – it captures the rhythms and quirks of human speech without sounding artificial or forced. There are many memorable lines in “Michael” that encapsulate its themes or humor – Michael says to Frank: “You know what your problem is? You don’t believe in happy endings”; Huey says to Dorothy: “I’m not a great photographer, but I can take a good picture”; Dorothy says to Michael: “You’re doing this all wrong. You’re supposed to be helping me.” These lines reveal something about each character and their relationship with each other.
The crews and criticism of “Michael” deserve recognition for their contributions. Ephron’s direction is sensitive and competent – she balances sentimental moments with funny moments; she frames shots beautifully; she gets good performances out of her actors; she creates a world that feels real yet magical. The crew that worked on the sound, cinematography, costumes, and sets did a good job without calling attention to themselves – they created a sense of place and time that serves the story. As for the criticism, it is subjective and understandable – some viewers may find the plot predictable or superficial; some may find Michael’s behavior annoying or manipulative; some may find the overall tone too sweet or silly.
The production and editing of “Michael” are worth mentioning as well. The production design by Dan Davis is subtle but effective – it creates a cozy yet mundane world that contrasts with Michael’s colorful personality. The editing by Robert M. Reitano is smooth and unobtrusive – it maintains a consistent pace that keeps us engaged without feeling rushed or slow. The movie’s final scene, in which Michael leaves Earth after completing his mission, is especially poignant – it captures the bittersweetness of goodbyes and promises.
In conclusion, “Michael” is an engaging and creative movie that deserves more attention than it has received. It tells a story about love and angels in a way that feels fresh and heartfelt. It uses humor, music, dialogue, acting, and cinematography to create a world that invites us to laugh, cry, think, and feel together. It reminds us of the power of imagination and faith to help us cope with life’s challenges and joys. It offers us an unexpected magic that lingers long after the credits roll. So if you haven’t watched “Michael” yet, give it a chance – you may be pleasantly surprised by what you discover!
Technical Data
- Runtime : 105
- Release : 1996-12-25
- Genre : Comedy, Drama, Fantasy
- Cast : John Travolta as Michael, Andie MacDowell as Dorothy Winters, William Hurt as Frank Quinlan, Bob Hoskins as Vartan Malt, Robert Pastorelli as Huey Driscoll
- Crew : Geraldine Peroni as Editor, Elizabeth McBride as Costume Design, Sean Daniel as Producer, James Jacks as Producer, Randy Newman as Original Music Composer
- Popularity 13.762
- Budget : 0
- Revenue : $119,718,203
- Company : Alphaville Films, Turner Pictures, Warner Bros. Pictures
- Summary : Tabloid reporters are sent by their editor to investigate after the paper recieves a letter from a woman claiming an angel is living with her.
- Tagline : He’s an angel… Not a saint.
