"Have I seen The Commitments? I was obsessed with that movie. I just watched it again about two weeks ago"
About this Quote
Nostalgia can sound like a press junket crutch, but Lara Flynn Boyle’s name-check of The Commitments lands as something more revealing: a small, strategic claim to taste. She isn’t saying she “likes” the film; she was “obsessed,” and she’s still revisiting it on her own time. That last detail matters. “About two weeks ago” pins the affection in the present tense, pushing it past retro fandom into ongoing appetite, the kind that suggests this movie is part of her personal wiring rather than a handy reference.
The Commitments is a scrappy story about working-class Dublin kids building a soul band - all hustle, swagger, and communal chemistry. For an actress who came up in a ’90s Hollywood ecosystem that prized cool distance and photogenic mystique, “obsessed” reads like a quiet tell: she’s drawn to ensemble electricity, to the messy romance of people trying to become something together. It’s also a way of aligning herself with a certain cultural credibility: the film is beloved, but not obvious, and it’s music-driven without being a glossy musical. Saying you rewatched it isn’t just a recommendation; it’s a signal you care about performance as a collective rhythm, not just a star vehicle.
The subtext is reassurance. Public personas age, but this kind of fixation implies continuity: her sensibility hasn’t been sanded down by time or industry. The intent is casual, but the effect is curatorial - she’s letting you see the shelf she returns to when no one’s watching.
The Commitments is a scrappy story about working-class Dublin kids building a soul band - all hustle, swagger, and communal chemistry. For an actress who came up in a ’90s Hollywood ecosystem that prized cool distance and photogenic mystique, “obsessed” reads like a quiet tell: she’s drawn to ensemble electricity, to the messy romance of people trying to become something together. It’s also a way of aligning herself with a certain cultural credibility: the film is beloved, but not obvious, and it’s music-driven without being a glossy musical. Saying you rewatched it isn’t just a recommendation; it’s a signal you care about performance as a collective rhythm, not just a star vehicle.
The subtext is reassurance. Public personas age, but this kind of fixation implies continuity: her sensibility hasn’t been sanded down by time or industry. The intent is casual, but the effect is curatorial - she’s letting you see the shelf she returns to when no one’s watching.
Quote Details
| Topic | Movie |
|---|---|
| Source | Help us find the source |
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