I found this film abusive and mean. A violent death of a character (Nancy Travis') after a repoire has been established with her and the audience is not the way to start a film. For the sake of discretion and to eliminate cheap sensationalism, the film should have begun after the child's (Albert's) mother had already died. Then, he should have been surrounded by supportive adults who truly try to understand and nourish his spirit. Instead, we literally get a bunch of clowns.
I rooted for Albert when he ran from the funeral proceedings to regard the symbolism of the dove, aloft and soaring. I rooted for him, also, when he was being led to the plane to Newark (sic) and refused to even look back, let alone wave, to his cheering, selfish, betraying acquaintances.
Having come from a foster family, herself, Whoopi Goldberg's character (Harriet Franklin) should have been much more empathetic, and even eager, to share some of the success, knowledge and wisdom that she had acquired in life from her childhood situation, saving the child from years, possibly, of state sponsorship and additional trauma.
Instead, hers is a single-dimensional character that could have been played by anyone. Her disregard and terrorizing of the traumatized child at the airport is inexcuseable. The lines written for Depardieu are formulaic and uninspiring. His appearance, role and goals in Albert's life are not explained, even a little bit. The people we care for most in Bogus are the ones who are most maligned and abused; Albert and his mother. The selfish, callous robots in the film are given free reign. The fact that Albert is dominated, neglected and abused in the film speaks a great deal about the heart of the screenwriters (Jeff Rothberg and Francis X. McCarthy) and their opinion of children. The racist behavior by Harriet while on the phone with the lawyer should have been scrapped. The bathroom scene with Albert and Depardieu was too risqué and should have been eliminated.
The movie needed to be re-written by someone with heart, intelligence, depth and writing skill. Whoopi Goldberg is fully, maybe even eminently, capable of playing a part of great depth, wisdom, courage and love, yet they made her just another "businessperson clone".
Gepardieu should have been a real character (perhaps, co-incidentally, a wise-street magician) that Albert and Harriet meet in the park in Newark, becoming a mentor to Albert and deep, close friend to Harriet. This would have made this a truly enchanting and valuable movie.
With these allies, the pain of Albert's loss could have been superseded, and his creativity, bravery and self-esteem given loft and wings, like the dove at his mother's grave.
I rooted for Albert when he ran from the funeral proceedings to regard the symbolism of the dove, aloft and soaring. I rooted for him, also, when he was being led to the plane to Newark (sic) and refused to even look back, let alone wave, to his cheering, selfish, betraying acquaintances.
Having come from a foster family, herself, Whoopi Goldberg's character (Harriet Franklin) should have been much more empathetic, and even eager, to share some of the success, knowledge and wisdom that she had acquired in life from her childhood situation, saving the child from years, possibly, of state sponsorship and additional trauma.
Instead, hers is a single-dimensional character that could have been played by anyone. Her disregard and terrorizing of the traumatized child at the airport is inexcuseable. The lines written for Depardieu are formulaic and uninspiring. His appearance, role and goals in Albert's life are not explained, even a little bit. The people we care for most in Bogus are the ones who are most maligned and abused; Albert and his mother. The selfish, callous robots in the film are given free reign. The fact that Albert is dominated, neglected and abused in the film speaks a great deal about the heart of the screenwriters (Jeff Rothberg and Francis X. McCarthy) and their opinion of children. The racist behavior by Harriet while on the phone with the lawyer should have been scrapped. The bathroom scene with Albert and Depardieu was too risqué and should have been eliminated.
The movie needed to be re-written by someone with heart, intelligence, depth and writing skill. Whoopi Goldberg is fully, maybe even eminently, capable of playing a part of great depth, wisdom, courage and love, yet they made her just another "businessperson clone".
Gepardieu should have been a real character (perhaps, co-incidentally, a wise-street magician) that Albert and Harriet meet in the park in Newark, becoming a mentor to Albert and deep, close friend to Harriet. This would have made this a truly enchanting and valuable movie.
With these allies, the pain of Albert's loss could have been superseded, and his creativity, bravery and self-esteem given loft and wings, like the dove at his mother's grave.