After a successful acting career in sitcoms including The Odd Couple and Laverne and Shirley, Penny Marshall turned her attention to directing with two comedies, 1986’s Jumpin’ Jack Flash, and 1988’s Big, a bonafide hit, taking in over $150 million at the Box office. 1990 saw her take on a drama with Awakenings, loosely based on the real-life events depicted in Dr. Oliver Sacks’s book and starring Robin Williams and Robert De Niro
In New York City 1969, Dr. Malcolm Sayer (Williams) needs a new job. A researcher by trade he’s not “a people person,” but when he’s offered a job as a clinical physician at a local hospital, he nervously accepts, Besides, the job involves working with patients in perpetual semi-catatonic states. How bad can it be?
After he witnesses sporadic responses from some of his charges, Dr. Sayer realizes that his patients are still inside there somewhere. Sayer gets permission to use an experimental drug to see if that will rouse them. The first test subject is 41-year-old Leonard Lowe (De Niro) who has been in a catatonic state for thirty years. The drug is a success, and Dr. Sayer concentrates on Leonard to see what this could mean for the other patients.
While Awakenings doesn’t hold any surprises, the arc of both Dr. Sayer and Leonard is an obvious one, strong performances from Williams and De Niro make the film worth watching. The only dramatic film in Penny Marshall’s filmography, it’s impossible not to believe this was her attempt at an Oscar. Though Awakenings didn’t win any Oscars, it did score a coveted Best Picture nomination and a Best Actor nod for De Niro.
Despite its obvious plot points, Awakenings makes me tear up every time. It’s real, and never overly dramatic. Knowing that Dr. Sayer is a real person makes the story more emotional. I would have liked to see Penny Marshall attack more dramatic material, but she returned to comedy with 1992’s A League of Their Own and wrapped up her directing career with three largely forgettable films, Renaissance Man (1994), The Preacher’s Wife (1996), and Riding in Cars with Boys (2001).
Presented in the 1,85:1 aspect ratio, Sony has delivered a pleasing Dolby Vision transfer. Sharpness is rather strong throughout, though a few wider shots exhibit slight softness. There’s no apparent edge enhancement and grain appears natural. The films sepia palette is appropriate, allowing the occasionally brighter hues to shine. Blacks are deep and inky. There are no apparent scratches or other anomalies.
Audio offers three choices: a new Dolby Atmos track, a DTS-HD MA 5.1 mix, and the original audio in a DTS-HD MA 2.0 track. I watched the film with the Dolby Atmos track. While this dialogue heavy film isn’t particularly active, Dolby Atmos does open the soundfield. Music is involving, using each channel. Awakenings’ minimal effects don’t need an Atmos track, but Sony has done a good job with it. Dialogue is clean, clear and concise throughout.
English SDH, French and Spanish subtitles are available.
The following extras are included:
- NEW! Making Of (SD 6:09)
- NEW! Archival Interviews with Cast and Crew (SD 8:45)
- Theatrical Trailer