All of the actors were good but seemed to be in different films. Bisset is excellent but the script and the director do not give her the opportunity to bring the jumbled pieces of this film together at the end. I got lost in the last half of Sleepy Time Gal. Bisset's performance, heartfelt, honest, totally devoid of histrionics, is truly to be cherished! As is "The Sleepy Time Gal." As does Jacqueline Bisset, probably the finest and most underrated (as well as achingly beautiful) actress of all time. In supporting roles, Amy Madigan, Seymour Cassell, Nick Stahl, and Martha Plimpton give performances of astonishing intelligence and warmth. Christopher Munch's direction/screenplay are sublime. Independently produced on a low-budget, "Sleepy Time Gal" is exactly the type of superior filmmaking so rare these days, and the fact that it was sold to the Sundance Channel (where it premiered on March 29, 2002) instead of being theatrically distributed to art-houses whose discerning patrons crave exactly this type of subtle, intelligent, exquisite jewel of a film) is a tragedy. Bisset's portrayal of a woman trying to put her life in order when she is told she has terminal cancer is one of the finest performances ever committed to celluloid. Long-acclaimed for her dazzling beauty ("The Deep," "Class," etc.), but sadly overlooked for her impeccable acting abilities (was everyone dozing when she gave breathtaking performances of subtlety and nuance in "Under the Volcano," "Rich and Famous," "High Season," "Le Ceremonie," etc.), Ms. If "The Sleepy Time Gal" had been released theatrically in 2001 (and the fact that no distributor picked it up is a tragic commentary on the state of today's film scene), the glorious Jacqueline Bisset would have been awarded the Best Actress Oscar at last week's dismal ceremony. (Pages 46-47).Forget about Sissy Spacek and Halle Berry. "Sleepy Time Gal." Literature: Reading, Reacting, Writing (5th ed.). Though his mother also did not experience the events first-hand, but rather heard it from the narrator's father, her view of the romantic side of the story should be given a certain amount of weight since the story was most likely relayed to her closer to the occurrence of the events." By mentioning that he had already intruded too far in a story that wasn't his, the narrator displays the need to balance the story and offers an apology for straying from his stated intent of relaying the story as it was told to him. "By mentioning the parts he would like to include, the narrator seeks to complete what, in his mind, is only a partial story. The paper states that readers are aware of how the narrator provides a balance to an otherwise one-sided and potentially uninteresting story. The author concludes that, regardless of how the story is told, the story remains one of love and how it is lost. The paper states that Gary Gildner has de-emphasized a cliched love plot and instead presents it in more of a 'no nonsense' manner.
The author points out that the narrator's re-telling of his father's story about the Great Depression without focusing heavily on love and its loss, is indicative of a male stereotype that portrays men as somewhat devoid of romanticism. The narrator, a third-party in the story, recounts the tale through his father and mother's experiences, presenting each parent's view on the past events as well as some of his own interpretation. This paper explains that, in Gary Gildner's "Sleepy Time Gal",