October 5, 1998
1999, 1 hr 53 min., Rated PG-13 for thematic elements, including death, some disturbing images and language. Dir: Vincent Ward. Cast: Robin Williams, Annabella Sciorra, Cuba Gooding, Jr., Max von Sydow.
This was one of my most anticipated films of the fall. But I came away a little perplexed, and not totally satisfied with the outcome.
I went into What Dreams May Come accepting that the vision of the afterlife it presented would not mesh with my own, so I have no complaints in that department. Actually, it's a beautiful picture of heaven, where we create our own vision. And hell isn't treated with kid gloves; it's a harsh, horrifying place full of oceans of naked souls, sunken ships (I don't know why, but it was okay), fire and figures with only their heads above ground. As you can tell, the cinematographer took ideas from about every genre and time period of literature.
Robin Williams gives another great performance. He rarely disappoints, except maybe Jack and Father's Day. Cuba Gooding, Jr. continues to prove he can act in Hollywood for a few more decades with success. And Annabella Sciorra is beautiful, someone most men wouldn't mind being a soulmate. And she was definitely pulling for a best supporting actress Oscar with her depressed character. Max von Sydow's role as The Tracker is another positive note for this movie, as the wise veteran of crossing hell's dominion.
If you like movies with eye candy, What Dreams May Come will satisfy. That's if you can get over the first half hour that is as depressing an open as any film in history. There's a couple of scenes in the open that you aren't prepared for, some information the trailers failed to provide. But the cinematography with Robin's vision of heaven as Annie's (Sciorra) paintings are impressive.
I did appreciate that the deaths were never shown. We didn't need to see them.
One of my favorite effects is when Williams is in heaven with Gooding, and sees the tree that Sciorra just painted. When she decides she can't stand it, she pours solution on the painting in order to get rid of it, and Williams sees this as the leaves violently blowing off the tree. Great effect.
But there is no spirituality. God is just "up there somewhere" and the devil isn't even mentioned as a viable being. It's a feel good mentality of the afterlife where all you need is a hug and it's all better. There's little reference to why some go to heaven and others end up in hell. And why can't the souls in hell be reincarnated? They may not accept their death, we're told, but I can't imagine a few hundred years of lying naked on a burning beach wouldn't convince them. Be warned, also, that there is some cursing--when they're in heaven as well--that was unnerving to me. I can't imagine being in heaven and feeling the need to say G**d**n. Very disappointing.
In the end, the moral of the story isn't our beliefs in the afterlife, but rather the strength of ultimate love, the idea of a soulmate for eternity. Williams and Sciorra are convincing in their roles of husband and wife that are inseparable, and brought together by fate on a beautiful lake in Europe. From then on there's no doubt that they'll be together forever. Except of course for their deaths, which should not surprise if you know anything about What Dreams May Come. If not, then I'm not giving anything away.
Don't get the idea I didn't like this film, because I did get something out of it, even with my disagreements. It's hard to say I "loved" it, though, because it doesn't feel like a "love" it kind of movie, similar to Saving Private Ryan, which I'll watch dozens of times in the future. So, I think it's enough to say that I'll see What Dreams May Come again.
The verdict: 
WARNING: DON'T READ UNLESS YOU WANT TO KNOW THE END
So at the finale the four are reunited. It's a typical sell-out Hollywood ending that's intended to give the audience chills of happiness and contentment. You know what, though? I didn't. Because it didn't fit for me. And I'm a sucker for tingly Hollywood moments. You know those scenes, like in Gone With The Wind where Scarlett says she'll never go hungry again. Or Apollo 13 where the capsule reappears out of the clouds and certain death was averted. Even Goonies, when the ship is out of the cave and sailing in the ocean again and the Goonies gather together on the beach with Sloth. But in What Dreams May Come I felt manipulated.
It's not like I didn't want Annie to be cleared from her own suicide-created hell. I just believe there is some sense of permanence in the afterlife, where our decisions down here affect us forever. Then again, the idea of purgatory is nice, where we can be forgiven and up to heaven even after death. Okay, so it's difficult to put aside your beliefs when the movie begins and take it at face value as entertainment.
Next, I was tired of the surprises in the film, involving the true identities in heaven of his daughter, son and Albert. After the daughter and son it was enough. Why couldn't von Sydow's character just be a wise Tracker? Williams's character doesn't have to be confined to people he knew on earth.
Also, Chris did not care one bit if he saw his kids in heaven. They were an afterthought; it was all about Annie. If not, why would he find them, then leave them to be reincarnated? He'd forget they existed. Hey, you just rescued Annie from eternal suffering and only found your kids because they found you, enjoy it for a hundred years or so before being reincarnated!
Also, did we settle the issue of whether it's good or not to give up? He doesn't on earth, he succeeds. He gives up in the afterlife, Annie is saved. What is the lesson there?