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The Mirror Has Two Faces is a 1996 American romantic comedy-drama film produced and directed by Barbra Streisand, who also stars. The screenplay by Richard LaGravenese is loosely based on the 1958 French film Le Miroir à deux faces written by André Cayatte and Gérard Oury, which focused on a homely woman who becomes a beauty, which creates problems in her marriage.

The film also stars Jeff Bridges, Pierce Brosnan, George Segal, Mimi Rogers, Brenda Vaccaro and Lauren Bacall.

The film received widespread criticism for being an ego production by Streisand who, with Marvin Hamlisch, Robert John "Mutt" Lange, and Bryan Adams, also composed the film's theme song, "I Finally Found Someone", and sang it on the soundtrack with Adams.Plot

Rose Morgan, a shy, plain, middle-aged English literature professor at Columbia University, shares a home with her vain, overbearing mother Hannah. Her attractive sister Claire starts making preparations for her third wedding to Alex (Brosnan), who used to date Rose, so she begins to feel her loveless life is empty.

Gregory Larkin, a Columbia Mathematics teacher feels sex complicates matters between men and women, since he seems to lose all his rational perspective as soon as he is aroused. After his last girlfriend dumps him after a last one night stand before she gets married, he decides to look for a relationship based on the intellectual rather than the physical, based on a suggestion by a sex-phone service, and places an ad in a newspaper.

Claire reads the ad and answers on behalf of Rose. Gregory is intrigued when Claire tells him that Rose teaches English literature at Columbia, so he creeps in to Rose's lecture about chaste love in literature, missing entirely the point she was making. After a series of mishaps, they begin dating and he is impressed by her wit and knowledge and seems to be fascinated by her quirks and mannerisms, which usually drive people crazy. She is also fascinated by the dashing math professor and even helps him improve his teaching techniques. He proposes marriage, on condition that it will be largely platonic, with occasional sex only if she needs it. The prospect of spending the rest of her life as a lonely spinster living with her mother seems far worse than a marriage on those conditions, so Rose accepts.

Rose's attraction to Gregory grows, and one night she attempts to seduce him, much to his annoyance. He had hoped that by then she had given up on the idea of sex, though he admits he initially raised its possibility. He abruptly breaks off their attempt at physical intimacy when he finds himself becoming truly aroused and fears that it will change the safe comfortable feelings he feels towards Rose.

When Gregory departs on a lengthy lecture tour, Rose embarks on a crash course in self-improvement: she diets, exercises, changes her hairstyle, learns to use makeup, and outfits herself in an updated wardrobe. When her husband returns, he finds a very different woman waiting for him and is too startled to express his feelings. She admits that she made a mistake in accepting their passionless marriage, and leaves him. All the while, Rose realizes that everyone, including herself, is now behaving differently towards her improved self, though not always to her liking. Gregory and Rose realize their mutual love has been hindered, not by Rose's appearance, but by Gregory's unusual theories on marriage and sex, and finally recognize their deep affection.
Cast

    Barbra Streisand as Rose Morgan
    Jeff Bridges as Gregory Larkin
    Lauren Bacall as Hannah Morgan
    George Segal as Henry Fine
    Mimi Rogers as Claire Morgan
    Pierce Brosnan as Alex
    Brenda Vaccaro as Doris
    Austin Pendleton as Barry
    Elle Macpherson as Candice
    Taina Elg as Professor
    Andrew Parks as Waiter
    Leslie Stefanson as Sara Myers

Release
Box office

The film had a budget of $42 million, it grossed $41 million in the US and a further $33 million internationally with a worldwide gross of $73 million.[1]
Critical reception

In her review in the New York Times, Janet Maslin called the film's first hour "light and amusing" but added, "Then [Barbra Streisand] demolishes her audience's good will with hubris that goes through the roof. Beguiling as she can be in ugly duckling roles, she becomes insufferable as this story's gloating swan . . . The overkill of The Mirror Has Two Faces is partly offset by Ms. Streisand's genuine diva appeal. The camera does love her, even with a gun to its head. And she's able to wring sympathy and humor from the first half of this role. The film also has a big asset in Ms. Bacall . . [who delivers] her lines with trademark tart panache . . . and cuts an elegant and sardonic figure".[2]

Roger Ebert of the Chicago Sun-Times said the film "approaches the subject of marriage warily and with wit, like a George Bernard Shaw play . . . it's rare to find a film that deals intelligently with issues of sex and love, instead of just assuming that everyone on the screen and in the audience shares the same popular culture assumptions. It's rare, too, to find such verbal characters in a movie, and listening to them talk is one of the pleasures of The Mirror Has Two Faces . . . this is a moving and challenging movie".[3]

In the San Francisco Chronicle, Edward Guthmann described the film as "a silly affirmation fantasy . . . that Streisand . . . uses to prove she's really beautiful, funny and worthy of being loved, gosh darn it . . . hasn't she returned to the theme of Homely Girl Redeemed, and crowned herself the victor, countless times? Look back and you'll see that Streisand's career, from the beginning, was one long battle cry for geeks and wallflowers and Jewish girls with big noses - a series of wish-fulfillment scenarios in which she, the perennial underdog, triumphs by dint of talent, chutzpah and a really great personality . . . in its first half The Mirror is a romantic-comic delight: nicely directed . . . well-acted by a terrific cast and peppered with great one-liners . . . by the second half . . . the movie has disintegrated into a humorless, drawn-out plea for reassurance".[4]

Todd McCarthy of Variety called it "a vanity production of the first order. A staggeringly obsessive expression of the importance of appearances, good looks and being adored, Barbra Streisand's third directorial outing is also, incidentally, a very old-fashioned wish-fulfillment romantic comedy that has been directed and performed in the broadest possible manner . . . From the beginning, it is clear that Streisand intends to hit every point squarely on the head and maybe bang it a few extra times for good measure. Every gag, every line and every emotional cue is pitched to the top balcony so no one will miss a thing, and there are quite a few moments of self-examination and discovery where one nearly expects the star to break into song to underline what she is really feeling . . . the subject of the director's uninterrupted gaze. Lit and posed in an old-time movie star way you rarely see anymore, she plays out her career-long is-she-or-isn't-she-beautiful comic psychodrama one more time, with the girlish uncertainties wiped out with the speed of a costume change. If one were to take it all seriously, one would have to point out that there just isn't that much difference in Rose Before and After, that Streisand hasn't allowed herself to look unappealing enough to justify the big change. No matter. The narcissism on display is astonishing to behold, and veteran Barbra worshipers will have a field day. Beyond that, pic does deliver a number of laughs, deep-dish luxury on the production side and an engagingly enthusiastic performance from Bridges".[5]

Lisa Schwarzbaum of Entertainment Weekly rated the film C- and added, "We know these two people are lonely and afraid of love and deserve our empathy. But they enact their tightly choreographed pas de deux in such a hermetically sealed universe that our emotions can never be engaged. Instead, we are left to muse, "Oy vey, does Streisand know how over-the-top she is?" That's not to say that Mirror is difficult to sit through. The synthetic one-liners that pass for humor and sentiment . . . are struck regularly, like gongs . . . The settings are pretty. The music is slick".[6]

In the Washington Post, Rita Kempley called the film "Barbra Streisand's latest folly" and added, "Although meant to be a bubbly romantic comedy, the movie is actually a very public tragedy for Streisand, who still can't quite believe that she's not Michelle Pfeiffer . . . at 54, it's time to get over girlish hang-ups, forget the noble schnoz and thank God that unlike Cher, you're still recognizable".[7]

In the newspaper's Weekend section, Desson Howe opined, "For Streisand fans, this ugly-duckling parable . . . is going to be the perfect experience. But for those who make crucifix signs with their fingers when her name is mentioned, this is definitely one to miss . . . the running time is hardly helped by a plethora of strategically framed shots of Rose's legs, new hairstyle, luscious lips and misty-blue eyes, after she has undergone a physical makeover. There is comic relief, however, from Lauren Bacall as Hannah, Rose’s egocentric, materialistic mother. Her withering lines . . . counteract some of the ubiquitous narcissism".[8]

Lauren Bacall's performance earned praise, winning her the Golden Globe Award and Screen Actors Guild Award for Best Supporting Actress. She also earned an Academy Award nomination for Best Supporting Actress, the first in her 50-plus year career.
Awards and nominations

    Golden Globe Award for Best Actress - Motion Picture Musical or Comedy (Barbra Streisand, nominee)
    Golden Globe Award for Best Supporting Actress - Motion Picture (Lauren Bacall, winner)
    Golden Globe Award for Best Original Song (nominee)
    Golden Globe Award for Best Original Score (Marvin Hamlisch, nominee)
    Academy Award for Best Supporting Actress (Lauren Bacall, nominee)
    Academy Award for Best Original Song (nominee)
    BAFTA Award for Best Actress in a Supporting Role (Lauren Bacall, nominee)
    Screen Actors Guild Award for Outstanding Performance by a Female Actor in a Supporting Role - Motion Picture (Lauren Bacall, winner)
    San Diego Film Critics Society Award for Best Supporting Actress (Lauren Bacall, winner)
    Satellite Award for Best Supporting Actress - Motion Picture (Lauren Bacall, winner)

Soundtrack

Original music for the film was composed by Marvin Hamlisch. The music received a nomination for Best Original Score at the 54th Golden Globe Awards.[9] On November 12, 1996, Sony released the soundtrack on CD. The CD single for "I Finally Found Someone" also contains a Spanish-language version of Streisand's "Evergreen" ("Tema de Amor de Nace Una Estrella"). The soundtrack listing is here:

    "Main Title / In Questa Reggia"
    "Got Any Scotch?"
    "An Ad?"
    "In a Sentimental Mood"
    "Rose Sees Greg"
    "Alex Hurts Rose"
    "The Dating Montage"
    "My Intentions?"
    "You Picked Me!"
    "A Funny Kind of Proposal"
    "Picnic in the Park"
    "Greg Falls For Rose"
    "Try a Little Tenderness" - David Sanborn
    "The Mirror"
    "Going Back to Mom"
    "Rocking in the Chair"
    "The Power Inside of Me" - Richard Marx
    "Rose Leaves Greg"
    "Ruby"
    "Rose Dumps Alex"
    "Greg Claims Rose"
    "The Apology / Nessun Dorma" - Luciano Pavarotti
    "I Finally Found Someone" - Barbra Streisand & Bryan Adams
    "All of My Life" - Barbra Streisand
Kim McGuire (born 1956) is a film and stage actress and practicing attorney who gained widespread media attention in the early 1990s following her eye-catching performance as Mona "Hatchetface" Malnorowski in John Waters' cult film Cry-Baby.Early life

Kim Diane McGuire was born in New Orleans, Louisiana, to attorney Raymond A. McGuire and his wife, the former Mary Toole. She initially intended to follow in her father's footsteps, and, after taking undergraduate studies at the University of New Orleans, completed her education at the Loyola University School of Law. However, McGuire also became interested in performing from an early age; following her casting in the film Cry-Baby, she stated that "This has been my dream since I was 3. I started off as a dancer and said I wanted to make myself as triple-threat as possible, and do Chekhov and Shakespeare... I just think it's so magical. I hate to say it, but I've always wanted to be a star." [1]
Film and TV career
Cry-Baby and its aftermath

In early 1985, John Waters announced that he was working on a script for a new film entitled Hatchet-Face, which was "about a woman and her multilevel beauty problems".[2] Although this film did not eventuate, a similar character of the same name was subsequently incorporated into the project that became Cry-Baby. It has been said that the character of Mona "Hatchetface" Malnorowski – a grotesque, loud-mouthed member of the teenage delinquent gang headed by Johnny Depp's Wade "Cry-Baby" Walker – had originally been conceived by John Waters with Divine in mind.[3] The overweight female impersonator (real name, Harris Glenn Millstead), who had been a distinctive presence in Waters' films for almost two decades, had died suddenly in March 1988, before production of Cry-Baby began.

When Waters came to cast the role of Hatchetface in March 1989, the character was described thus: "She's got the body of Jayne Mansfield and the face of Margaret Hamilton... [and] nobody, but nobody, gives her grief."[4] To find a suitable actress, Waters placed a print advertisement that simply requested: "Wanted: Girl with a good body and an alarming face who is proud of it".[1] Prospective candidates were invited to send a recent photograph to "Cry-Baby Productions, 222 St. Paul Pl., Baltimore, MD, 21201."[5] McGuire, then working on stage in New York City, saw the advertisement and was reportedly hired by Waters "almost immediately" after her audition.[6] In a 2005 documentary about the film, titled It Came From Baltimore, McGuire recalled:

    I had just randomly sent my picture to six casting directors that week. I sent it to [casting director] Paula Herold who was casting for a film called Reversal of Fortune, which I had no idea what it was about. And I guess I had a reversal of fortune, because they called me in for Cry-Baby.[7]

For the movie, McGuire's naturally unusual physiognomy was greatly exaggerated through grotesque make-up so that she resembled (as one critic later put it) "a Cubist poster-child". The transformation was incredible; later, John Waters stated: "that face that she wears in the movie is certainly make-up; Kim has a very blank face in real life".[8] McGuire herself once quipped "When people see me after seeing that, they think I look really good."[1]

After principal production of Cry-Baby was completed in July 1989, a series of test screenings were held, where McGuire's performance as Hatchetface was so well received that Waters decided to insert some additional sequences involving the character. An additional fortnight of shooting took place in November, after which two new Hatchetface scenes found their way into the final cut.[9] According to Waters, the scene in which Hatchetface breaks through the screen of a 3D movie into a terrified audience of male prisoners, generated the biggest laugh of the entire film.

When the film premiered in April 1990, McGuire's eye-popping performance caught the attention of every critic who saw it. The New Yorker, for example, observed that "There's a spectacularly ugly girl called Hatchet-Face (Kim McGuire), and Waters zooms in on her mug at every opportunity". Writing in New York Magazine, David Denby noted the presence of "a startlingly ugly baby tramp, Hatchetface, played, with makeup spread all over her face, by the masochistically courageous Kim McGuire".[10] Another observer wrote of McGuire, "whose screwed-up face is an object of much bad-taste-flouting hilarity".[11] Other critics were no less descriptive, and variously described her as "a hideously contorted floozy" (New York Times), "gorgeously grotesque" (Newsweek), "a character with a mug like silly putty with eyes" (The Advocate) and "a sort of junior Margaret Hamilton" (Atlanta Journal Constitution).

Many observers astutely noted that McGuire proved herself an able successor not only to the late Divine and also to another odd-looking stalwart of Water's previous films, the late Edith Massey, who had died in 1984. The Boston Globe reported that "Divine's kind of generous outrageousness comes from Kim McGuire as a tough-talking tough-looking character called Hatchet Face".[12] Another critic stated that "Divine's rubber-faced antics find a new home in the actress Kim McGuire's Hatchet Face",[13] while yet another simply noted that "the closest thing to an old-time Waters' face is Mona 'Hatchet Face' Malnorowski, as played, with twisted face, by someone named Kim McGuire".[14] Waters himself described McGuire as "a definite starlet on the rise" and, in another interview, wistfully stated that "she should have been in Dick Tracy".[15] For many months after the release of Cry-Baby, McGuire remained a prominent feature on the Hollywood social circuit, being photographed at film premieres (including Postcards from the Edge and David Lynch's Wild at Heart), parties, benefits and other A-list events.