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Sam's grown son, Jules (Aidan Quinn), was born in America. He is a natural salesman, and partners with cousin Izzy (Kevin Pollak) in business ventures. The most successful of these is a store selling television sets, initially an expensive novelty although destined to transform American culture.
Jules is married to practical (and predictably beautiful) Ann (Elizabeth Perkins). Their marriage is happy aside from strife caused by close quarters with her in-laws, particularly Sam's well-intentioned but meddlesome wife, Eva (Joan Plowright). Ann doesn't understand that the idle bickering of Eva and Sam is merely their manner of conversation.
How others will see it. This well written and expertly directed film will be of special interest to sociologists and cultural historians. But those who simply want to see a quality family drama will also be impressed. The story takes sad turns in the final half hour, so keep your hanky handy.
How I felt about it. Avalon is one of several movies loosely based on writer/director Barry Levinson's family experiences in Baltimore. The other films are Diner, Tin Men, and Liberty Heights. Levinson is best known for the overpraised blockbuster Rain Man (1988).
Avalon explores two important societal trends of the late 1940s. The first is the rise of television. Today, we have hundreds of channels and have spent our lives with television. It is taken for granted. But circa 1948, television was a wondrous and marvelous arrival to American homes. As television evolved from test patterns to addictive cross-generation programming, it changed family behavior, which became scheduled around favorite shows.
Avalon depicts the excitement that accompanied live television shows. But the film is mostly occupied with snippets of life from that era. Michael is stung by bees, and fails to master the difference between may and can. Jules and Izzy take risks to grow their business. A circus parade comes to town.
The second major theme of Avalon is the decline of the extended American family. At the beginning of the movie, the Krichinsky brothers are close, and often hold "family circle meetings" that occupy much of the day. These include three generations of Krichinskies. But individual families move from the Avalon section of Baltimore to its suburbs, and the growing geographical distance between them takes its toll. A petty dispute between Sam and Gabriel soon ends the family circle. Later, Jules and Izzy end their partnership. By film's end, Sam lives bereft of family in a nursing home.
Bottom Line. Although it ends sadly, the first two-thirds of Avalon is highly entertaining, and evocative of Truman-era American culture.