Based on the novel by Larry McMurtry, and released in 1983, Terms of Endearment was written, directed, and produced by James L. Brooks. Set in the Houston area, the film starts with a series of scenes that set up the complex mother/daughter relationship between Aurora Greenway (Shirley MacLaine) and Emma Greenway Horton (Debra Winger). The story follows two paths, as Emma embarks on a new life, having married Flap Horton (Jeff Daniels) just out of high school, and the widowed Aurora finds herself wooed by several men, but ignores them. Tough and opinionated, Aurora meets her match in next door neighbor Garrett Breedlove (Jack Nicholson) a former astronaut with a taste for much younger women. Naturally, the two stories regularly intersect, as mother and daughter experience the joys and disappointments of everyday life.
While Aurora hasn’t truly dated anyone since her husband died, and seems to gravitate toward the negative in everything, Emma seems to always find the joy in life. As Flap teaches English at a series of Midwestern colleges, she manages to raise three kids on limited funds. Flap isn’t much help, given his eye for pretty coeds. Back in Houston, Aurora, who has always claimed to be appalled by him, finally agrees to go out on a date with the astronaut next door. Oddly attracted to him, it’s not long before Aurora finds herself in Garrett’s bed. Meanwhile, Emma has a sweet affair with a banker (John Lithgow) who treats her with respect.
The years pass. The children are growing up, and Flap gets a job in Nebraska as the head of an English department, and Aurora’s relationship with the astronaut is going along quite nicely. Mother and daughter seem to understand each other a bit better; happy to have chatty phone calls regularly. All of this is told in a series of well written, expertly acted, and directed scenes that flow together effortlessly to create a believable story.
When Emma is diagnosed with a malignant tumor, it knocks the wind out of the viewer. Even as it’s made clear that Emma will not survive her illness, Brooks allows the process to flow in a natural, realistic manner. Although the entire cast is superb, the movie belongs to Shirley MacLaine. Her performance as Aurora Greenway—which won her an Oscar for Best actress—has her on am emotional rollercoaster, but she’s never overly dramatic. Debra Winger also gives a strong performance. I challenge anyone not to be moved as she says an emotional goodbye to her children.
Terms of Endearment was a big winner at the Oscars, winning five awards including Best Picture, Director and Adapted Screenplay for producer/director/writer James L. Brooks, as well as Best Actress for Shirley MacLaine (beating out costar Debra Winger in the same category) and Supporting Actor for Jack Nicholson (over co-star John Lithgow). Some movies lose their emotional impact over time but Terms of Endearment is just as powerful today as it was when it first hit theaters.
Presented in the 1.78:1 aspect ratio, Warner’s 1080p Blu-ray from a Paramount transfer, is stellar. Aside from the opening scenes that have been intentionally softened because they are set in the past, the image is clear and detailed throughout. The color palette in and around Aurora’s Houston home is bright and well saturated, while Emma’s Midwestern surroundings are decidedly duller, with lots of grays. Lighting is spot on throughout the film.
Originally released theatrically in mono, that track is available as a Dolby Digital 2.0 (listed as “restored mono”) for purists. The default audio track is a decidedly restrained lossless DTS-HD MA 5.1. Located largely in the front speakers, there is some channel separation that allows for noticeable bass for Michael Gore’s well known score. Several show tunes are peppered throughout the film, and they blend very well into the mix. The dialogue is always clear,and the few occasions where sound effects are important acquit themselves well.
English SDH, French, and Spanish subtitles are available.
The following extras, ported over from the 2001 DVD release, are included:
- Commentary by Director James L. Brooks, Co-Producer Penney Finkelman Cox and Production Designer Polly Platt: Although Platt and Cox contribute regularly, Brooks dominates the commentary with memories of getting his first feature film financed, casting the picture, the anxiety of a first-time director, his experiences with each actor, changes he made to McMurtry’s novel and more.
- Theatrical Trailer (HD, 4:50)
