Sunday, October 28, 2007
Friday, October 26, 2007
Jack (Jason Schwartzman): How can a train be lost? It's on rails.
Film geeks from all markets can rejoice as Wes Anderson's latest opus THE DARJEELING LIMITED today enters its nationwide release.
Wednesday, October 24, 2007
“Andy Warhol looks a scream, hang him on my wall. Andy Warhol, Silver Screen, Can't tell them apart at all.” - David Bowie (“Andy Warhol" off the album Hunky Dory - 1971)
Pop-art pioneer (and filmmaker - though the worth of his cinematic output is highly debatable) Andy Warhol has been portrayed by a host of notable actors since his death in 1987. The latest was Guy Pearce earlier this year in the Edie Sedgwick bio-pic FACTORY GIRL (newly released on DVD and reviewed below). How does Pearce rate compared to the other Andys? Well, let's see...we'll start off with:
Crispin Glover in THE DOORS (Dir. Oliver Stone, 1991) Definitely the best Andy though the next contender comes close, Glover scores because he is in real life almost as eccentric and creepy as Warhol was. Appearing very briefly in an extremely caricaturized version of the Factory scene Jim Morrison (Val Kilmer) in his usual stoned haze stumbles upon Andy holding court and fondling a gold telephone - "Somebody gave me this telephone... I think it was Edie... yeah it was Edie... and she said I could talk to God with it, but uh... I don't have anything to say... so here...this is for you...now you can talk to God." Morrison takes the phone but doesn't make an attempt to speak to the Grand Deity - perhaps he knew he'd get his chance soon enough.
David Bowie in BASQUIAT (Dir. Julian Schnabel, 1996) With his incredibly informed interpretation (he even wore some of Andy's actual wigs) of Warhol's mannerisms Bowie benefited from actually personally knowing the man. Though from everything I've ever read possibly nobody really personally ever knew the man. Bowie's performance is all verbal ticks and unctuous posing framed by a laid-back lackadaisical hands-off approach. Warhol reportedly hated Bowie's song "Andy Warhol" (quoted at the top of this blog post) but something tells me he would've been honored by this depiction. He probably would've thought Bowie made him look fabulous.
Jarred Harris in I SHOT ANDY WARHOL (Dir. Mary Hurrin, 1996) This movie perhaps has the most accurate, or at least most believable, simulation of the Factory scene. Extra points for casting indeliable indie-rockers Yo La Tengo to play The Velvet Underground too. Harris has quite a bit more energy than the others in his characterization of Warhol but it's convincing and captivating at the same time. Dealing with the odd assassination attempt by radical feminist and sociopath Valerie Solanas (played by Lili Taylor) the film, despite a non-endorsement from Lou Reed, made quite a case for how Warhol's smug indifference to the violent nature of the turbulent times could be deadly.
Gregory Sullivan in 54 (Dir. Michael Christopher, 1998) This isn't really a performance - more like a costume party likeness. That is almost any pale skinny bloke can don the glasses and astronaut-silver wig and pull off a Warhol impression. Especially in the crowd scenes that dominate this empty as Hell misreading of historical decadence.
Mark Bringleson - AUSTIN POWERS: INTERNATIONAL MAN OF MYSTERY (Dir. Jay Roach, 1997) Ditto. It's a throwaway fake cameo - nothing more.
And the rest : Warhol was also played by Bob Swain in DEATH BECOMES HER (Dir. Robert Zemeckis, 1992), Sergio De Beukelaer in ANY WAY THE WIND BLOWS (Dir. Tom Barman, 2003), Todd Boyco in DRUG-TAKING AND THE ARTS (Dir. Strom Thorgerson, 1994), and Allen Midgette in CALDO SOFFOCANTE (translation - SUFFOCATING HEAT - Dir. Giovanna Gagliardo, 1991) which I haven't seen but the guy was in actual Warhol movies like LONESOME COWBOYS (1968) so maybe it's worth a look.
So again, how does the new guy Guy Pearce rate as Warhol? Let's take a look at the evidence:
FACTORY GIRL (Dir. George Hickenlooper, 2006) "You're the boss, apple sauce" Pearce as Warhol says early on to Edie Sedgwick (Sienna Miller) and that stands as some of the only believable dialogue in this glossy mess of a movie. Sedgwick was indeed a sad victim of 60's excess and her story could make an engrossing and profound film - but this sure isn't it. Despite the use of period methods like split screen and tilted angles - the aesthetic is purely TV movie quality and we're never convinced that we're anywhere but the current day with actors playing dress up.
The basic story is this - ambitious girl comes to the big city and falls into the wrong crowd and dies because of it. Got it? 'Cause there's nothing else going on here. I mean, the only artistic analogy this film tries to make is that Edie is like one of Andy's silver pillow balloons that floated away from his fragile Factory scene. This is displayed in a none too subtle shot of one of said balloons drifting upwards in the New York sky. Is that all you got in your bag of tricks, Hickenlooper?
Bob Dylan lobbied against this movie and wouldn't allow his name or music to be used so we have Hayden Christensen playing a character only billed as "musician" and referred to as "Billy Quinn" though a shot of a newspaper article has him called "Tommy Quinn". That's just one of the many things this film gets wrong. Dylan was right to protest (was he ever wrong to protest?) - the dialogue Christensen spouts is embarrassing and unfathomable that Dylan ever said such garbage : case in point - "Lady, you don't know shit about shit."
I get and appreciate that the premise is that Dylan offered a way out of the Warhol dungeon that Edie stupidly refused and that led to her downfall. It's just that it's such a simplistic dumbing down of their legacy that it leaves a disgusting taste in my mouth. But wait, what about Pearce as Warhol - the conceit of this entire blog-post? He's very good - maybe the saving grace of the entire project. I'd rate him between Bowie and Jarred Harris. He obviously did his homework. But back to the film - as Miller (who does more than a passable performance - the film's failings are far from her fault) as Sedgewick says at one point in the film "Andy took ordinary objects and made them iconic" - FACTORY GIRL, a misguided attempt to make a pop-art ALL ABOUT EVE, takes icons (Sedgwick, Warhol, Dylan) and makes them ordinary. Before seeing it I would have thought that would be impossible. I stand corrected.
Postnotes : I can't leave without mentioning that Warhol actually appeared in some films (always as himself) - in DYNAMITE CHICKEN (Dir. Ernest Pintoff, 1972) with Richard Pryor, TOOTSIE (Dir. Sydney Pollack, 1982), and BLANK GENERATION (Dir. Ulli Lommel, 1980) to name a few. As for television he did a fair share of guest shots - he even did an episode of The Love Boat for Christ sakes!
Also I have to mention that Hank Azaria voiced Warhol in a brief surreal dream bit on The Simpsons. I doubt when Warhol conceived his famous quote "In the future everyone will be famous for fifteen minutes" he factored in the effect that a few seconds on the pop-culture juggernaut that is The Simpsons could have. To be fair he later amended the line to "In fifteen minutes everybody will be famous." Today that line is more apt.
Monday, October 22, 2007
Monday, October 15, 2007
It's official - George Clooney is to this decade (sorry - I hate calling it the Aughts or Aughties) what Robert Redford was to the 70's. He's the gruff but good looking beacon that guides us through the dark corridors of misappropriated power and serves as the conscience of poli-sci centered cinema. In a run of ambitious films (excluding the OCEAN'S series, that is) like SYRIANA, THE GOOD GERMAN, and GOOD NIGHT AND GOOD LUCK, Clooney is coming close to matching Redford's run in the Nixon-Ford-Carter era - a run that included such classics as THE CANDIDATE, THREE DAYS OF THE CONDOR, ALL THE PRESIDENT'S MEN, and BRUBAKER.
MICHAEL CLAYTON cements the case that Clooney has definitively assumed Redford's role as symbol of liberal unrest and righteous though mostly impotent outrage against the machine. So here's the Film Babble review :
MICHAEL CLAYTON (Dir. Tony Gilroy, 2007)
As the title character Clooney brings a doomed demeanor to a once prominent NY lawyer who now acts as a "fixer" that is a hatchet or bag man to do his large firm's dirty work. Called a "miracle man" by some but self described as a "janitor", Clayton can't quite clean up the mess made by a fellow tormented litigator - Arthur Edens played to intense perfection by Tom Wilkinson. Edens threatens to sabotage his firm's handling of a multimillion dollar lawsuit against a agrichemical company. Clayton struggles to protect Edens and grapples with overwhelming ethical dilemmas while juggling his own personal set-backs - financial insecurity brought on by divorce and a former gambling problem recently replaced by a risky restaurant venture.
Some of the narrative turns can be seen coming at a fair distance and there are some drawbacks with a few undeveloped characters - specifically Chief Counsel for the bad guys Karen Crowder (Tilda Swinton) and also the unnecessary druggie brother heavily implies there was some cut material. Sydney Pollack (one of the film's producers) as Clooney's boss does add some clout though it's a character he's played slight variations on before (see below). Tony Gilroy's direction, decorated by hushed grey tones and a overcast aura, is impressive for a first time director (Gilroy scripted the BOURNE series). There's a lot to admire in this anti-slick suspense flick. So as long as Clooney doesn't pull a ELECTRIC HORSEMAN on us - we're heading in a good direction.
After seeing MICHAEL CLAYTON I realized something - I like Sydney Pollack as an actor more than I do as a director. Sure, he mostly plays incidental side parts - giving a folksy gravitas to the proceedings in a the Yoda you may worry 'bout trusting sorta way. Also he re-inforces this blogpost's conceit because of his collaborations with Robert Redford, so continuing my blog's HIGH FIDELITY obsession with lists here goes :
5 Pivotal Sydney Pollack Parts :
1. TOOTSIE (Dir. Sydney Pollack, 1982) It's hard to imagine what TOOTSIE would've been had Hal Ashby (who was originally signed on but after what Wikipedia calls "two years of laborious negotiations" - was axed from the project) directed it. I mean there would have been no hilarious arguments between Pollack and Dustin Hoffman both on and off screen! Pollack signed on to direct but resisted Hoffman's idea that he play the blunt agent character in the film. He finally gave in and it's a great thing too because his part really makes the movie. Priceless moment - Hoffman in drag runs in to an oblivious Pollack, who had told Hoffman's Michael Dorsey character that "no one will hire you" earlier, at the Russian Tea Room. After fooling Pollack with his Dorothy Michaels persona for a few minutes, Hoffman drops his voice low and reveals himself. Pollack : "Michael, I told you to get some therapy!"
2. HUSBANDS AND WIVES (Dir. Woody Allen, 1992) Pollack's biggest role to date and one he excels in though at first glance it's a stock best friend who's having an affair part - a role usually reserved in Woody Allen movies for the likes of Tony Roberts or Michael Murphy. Pollack plays a man constantly on the verge of crumbling during his separation from wife Judy Davis but somehow holding it together. A misguided affair with a ditsy aerobics trainer (Lysette Anthony - pictured on the right) gives some funny yet dark insights into his nature. We're left liking the guy in the end though we don't know why - perhaps because he's just a flawed fucked-up human like the rest of us.
3. EYES WIDE SHUT (Dir. Stanley Kubrick, 1999) Another best friend/mentor/would be Yoda role in this troubled and troubling movie. I won't go into the details about this notoriously comprised Kubrick project - that's well documented elsewhere - I'll just say that Pollack pulls no punches in his portrayal of Victor Ziegler. Woody Allen was originally considered for the role of Ziegler but he claims that Kubrick "came to his senses".
4. CHANGING LANES (Dir. Roger Mitchell, 2002) put this one in the "guys the main character shouldn't trust" file. A fairly lame Ben Affleck / Samuel L. Jackson dueling NY commuters thriller (as if that's an actual genre) features a rare Sydney Pollack as complete bastard role as yet another corrupt lawfirm boss (see above). Especially, in a moment that will come back to haunt him, when he tells Affleck - "at the end of the day I think I do more good than harm... what other standard have I got to judge by?" At the end of the day this guy is judged pretty harshly.
5. RANDOM HEARTS (Dir. Sydney Pollack, 1999) Another flawed as fuck film (only 18% on the Rotten Tomatometer - pretty much consensus says it's a stinker) that nonetheless gives good Pollack. Sure it's another advisor/mentor character but when it boils down to it - he's one of the only interesting elements in this failure of his own making. If Pollack can shine when Harrison Ford and Kristin Scott Thomas appear drab and unconvincing then maybe the guy really is a genius director! Nah, I'm just blogging out of my ass again.
Okay! Another post - another list. Next time out : the countdown to my first blog convention - Converge South 2007 - continues and more babble 'bout movies of course.
Friday, October 12, 2007
"You got a VCR in the back of your head? It's like David Cronenberg all up in here!"
- Master Shake (Dana Snyder)
I'm attending my first blogger convention/conference whatever - CONVERGE SOUTH 2007 in Greensboro a week from today. I'm going with my brother Dave who says it is a "small conference devoted to blogging, podcasting and 'new media'". He has been to many of these kinda deals so he'll show me the ropes. I'll blog about it of course so stay tuned.
Just one just seen flick to babble 'bout this time out :
AQUA TEEN HUNGER FORCE COLON MOVIE FILM FOR THEATERS (Dirs. Matt Maiellaro/ David Willis, 2007)
Once I was angered to find that prissy critic/pundit Leonard Maltin in one of his bulky film guides described MONTY PYTHON AND THE HOLY GRAIL as being "for fans only". This was absurd - I've met many people who say that's the only Python they like so it is inaccurate to label it that way. That said this odd flat looking animated full length version of the Cartoon Network's cult fave Aqua Teen Hunger Force is definitely without a shadow of a doubt for fans only. Maybe even just the stoned hardcore fan actually - the only type of people who would truly appreciate a cameo by Space Ghost that is. I've only seen a handful of episodes and found it amusing to a degree but uh, feature film worthy? I think not.
The premise is that a large talking soda cup - Master Shake (Dana Snyder), a goateed talking order of large fries - Frylock (Carey Means) and a baby voiced talking meatball - Meatwad (David Willis) uh, well...they, okay that is the whole premise. I mean they have uh, adventures I guess, but not really. They seem to stand around and say weird twisted things. This "Movie Film" (that part of the title obviously comes from BORAT - with Sacha Baron Cohen constantly referring to his movie in that manner) makes no attempt to be anything but a long episode of the show and involves some kind of evil alien exercise machine that our fast food product pals' crusty wife-beater-wearing neighbor Carl (also voiced by Willis) gets caught in. Sample dialogue from that scene :
Cybernetic Ghost (Matt Maiellaro) - "There's only one way to stop it. You must push the stop button.
Meatwad - "It doesn't have a stop button!"
Cybernetic Ghost - "Well...I...then there's no way to stop it."
Yep, the humour is consistent on that level. There's no point of recounting any other plot points - the characters themselves continually forget there is a plot (Meatwad - "do I remember anything?") If BORAT was rude mean comedy, then this is a model of awkward comedy. Every character has issues and makes inappropriate yet silly comments and the others look uncomfortable and brush it off - "uh, okay!" Which is probably the best response to this movie. Sorry, Movie Film.
Now doing this blog I get a lot of email - content requests, link exchanges, questions, corrections, etc. The moderator at this site - eyje.com wrote me asking for a Review Exchange Request. I review their site - they'll review mine. Okay, so I checked out eyje.com and played around with what they call their "social comment search engine". I put in Bruce Springsteen - "No results for bruce springsteen" I put in Bob Dylan - "No results for bob dylan". Hmmm. I knew Kurt Cobain would get something because his name is on the recently discussed comments homepage - I try Hitler - "No results for hitler". Okay, so it's a new site. These things take time. I'll try back later. Not sure how this is a social network device like it claims to be but again maybe it's too soon to tell. Anyway I'll link to them and stay tuned.
Sunday, October 07, 2007
As for lasting an hour - the first hour of 1408 is pretty good - sharp and genuinely creepy. The second half however is really ludicrous - literally throwing every horror movie cliché at Cusack as he is almost burned, frozen, stabbed by ghosts, drowned, chased by a corpse in a heating duct, and he almost falls to his death hanging from the ledge when he tries to escape to the next room's window which of course disappears.
These are technologically savvy ghosts - they outdo the AMITYVILLE HORROR's screwing with the bedside alarm clock ploy, though they do that too. Yes Siree - these ghosts can manipulate Cusack's lap-top's video messenger screen and broadcast their own satellite cable transmissions on the room's television. They sometimes even tap into surveillance camera and old family camcorder feeds somehow to better scare Cusack. They can also appear in black and white complete with old film scratches or in technicolor depending on when they died craftily enough.
But of course it's not the ghosts but the room itself as the title implies and Jackson said - it's evil and can take control of everything including time, space, bed, bathroom and beyond. How could that be? You can't have a Indian burial ground beneath a rented space in the sky so what gives? Then we have to filter in the estranged wife (Mary McCormack) and dead daughter (Jasmine Jessica Anthony) - who the room and the film use as heartstring pulling psyche-out set-up punches.
It's the kind of movie that boils down to "we've traced the call - it's coming from inside of your brain!" That said, this is an amusing time waster that has a better than the material performance by Cusack who carries pretty much the whole show. Like those movies depicting plane crashes that are banned by airlines, I think this would be a good one to censor from hotel-chain pay-per-view. I doubt I could sleep in a hotel room after watching it - just sayin'.Postnote : Not that it affects my review but I only saw the unrated version of 1408 which is disc 2 of the Special Ed. DVD. I wasn't aware that there was an alternate ending that is completely different to the theatrical release's. I thought that the unrated version would be everything, you know? As readers of film babble must know I hate when there are alternate endings - cop-outs based on test screening panic for the most part. A Cry For Quality Cusack So how long since the last really good John Cusack movie? Uh, let's go back through the bad ones - MUST LOVE DOGS, which was a real dog, was 2005, before it there was RUNAWAY JURY which was beneath the bottom of the bail and IDENTITY (another failed supernatural thriller like 1408) were both 2003, and SERENDIPITY and AMERICAN SWEETHEARTS which both seriously sucked so the last really good John Cusack movie was HIGH FIDELITY (2000). Wow, 7 years! HIGH FIDELITY is one of my favorite movies (as the Nick Hornby novel it was based on is one of my favorite books) so because of Cusack's top notch work as heartbroken music snob/geek Rob Gordon (named Rob Fleming in the book) in that film as I read somebody say on The Onion The A.V. Club he gets a free pass. However it looks like the pass is going to expire soon unless he takes some action. It looks like there's possibilities ahead for the upcoming films MARTIAN CHILD (by Menno Meyjes who directed Cusack in MAX - which was decent but unmemorable) and the drama GRACE IS GONE (pictured below) so with hope the 7 year itch will be scratched. Now I don't want to write one of those "open letter to..." or any smarmy "here's some career tips Mr. Big Star", I mean how moronic would that be for me - a lowly blogger to even slightly think I know what really goes on with choosing scripts and signing on to projects but damnit I wish Cusack would do 2 things: 1. Work with Stephen Frears again - 2 of Cusack's best films (THE GRIFTERS and HIGH FIDELITY) were with Frears directing and it seems like a good time for them to hook up again. Also Cusack was great in Woody Allen's SHADOWS AND FOG and BULLETS OVER BROADWAY so another collaboration with him would be great too. How about this being a plea for Cusack to work with better directors in general? The last seven years smell of behind the camera hackery. 2. Host Saturday Night Live - That's right, Cusack has never hosted SNL despite the fact that his sister Joan Cusack used to be a cast member. In his friend Tim Robbin's excellent mock poli-doc BOB ROBERTS Cusack played an actor doing a SNL-type show called "Cutting Edge". Just credited as "Cutting Edge Host" Cusack had a great anti-corporation/anti-right wing folk-singing senate candidate Bob Roberts (Robbins) rant. It would be a great actor exercise for him to do a string of different characters all live on SNL and I bet it would refresh his comedic facilities. But like I said who am I to say such things - nobody that's who! As long as Cusack still makes movies with his sister - the very funny above-mentioned Joan Cusack (they've been in 5 movies together and 2 more coming up) and Jeremy Piven (6 films) I'll stop complaining. In fact I bet Joan would made 1408 quite a bit better if she would've appeared as the voice of the hotel phone operator and Piven as the bell hop - man, that would've added a more chilling effect to the proceedings. So in conclusion - I have to do right by HIGH FIDELITY's Rob Gordon and his obsession with top-5 lists and name: The Film Babble Blog Top Five John Cusack Movies 1. HIGH FIDELITY (2000) - No surprise there. 2. SAY ANYTHING (1989) - Excellent Cameron Crowe high school relationship movie. Best known for the boom box blaring Peter Gabriel held to the skies by Cusack's immortal Lloyd Dobbler character - no, I'm not going to post that picture. I'll go with the one with the Clash t-shirt on the left. 3. THE GRIFTERS (1990) - A con man (Cusack) and a few con women (Annette Benning, Angelica Houston) and a dark uncompromising comic tone that never lets up make this essential on my blog. 4. BULLETS OVER BROADWAY (1994) - One of Woody Allen's best screenplays with Cusack spot-on as a troubled neurotic playwright in 1920's New York who has to deal with mafiaso control of his project. A pleasure from start to finish. 5. THE SURE THING (1985) - Very underrated Rob Reiner helmed comedy originally billed as a college-kids-on-the-road-sex-farce but it has better intentions and results. It makes the Top 5 because it was the first full-length that cemented the Cusack persona - he's one of the only guys who can get away with a line like: "How would you like to have a sexual experience so intense it could conceivably change your political views?" Great Tim Robbins cameo to boot. Came close but didn't make the cut : BEING JOHN MALKOVICH (Dir. Spike Jonez, 1999) That's all for now - next time I'll try not to come anywhere near giving celebrities career advice. I'll leave you with this nice montage of Cusack in the rain which sort of says it all. More later...
Wednesday, October 03, 2007
God (George Burns) : "Ah, Hollywood. Next question."
The film forums were flowing with tributes to the 30th anniversary of STAR WARS last summer but I think another little movie released that same year should get a shout-out. I’m talking about OH, GOD! – the Carl Reiner directed comedy that had God come to Earth in the form of a wise-cracking smug smiling George Burns. He appears to John Denver, of all people, in Denver's only cinematic acting role and asks him to give his message of hope to the world. Wackiness doesn't ensue like in lesser broader comedies (BRUCE ALMIGHTY - I'm looking in your direction) - no, a measured witty thoughtful tone carries Denver's supermarket manager everyman character through the motions of his doubting wife (Teri Garr), his stern unforgiving bosses, and the scolding from the entire religious community that result.
Released on October 7th, 1977 to good box office and much critical acclaim, OH, GOD! is still not really considered a classic these days. It's not on the American Film Institute's 100 greatest movies list and it only gets a IMDb user rating of 6.2/10 but its Critics Tomatometer 82% approval rating shows there are a lot of fans out there. So, since I'm one of the film's biggest fans I thought it would be fun to celebrate the 30 year anniversary and honor OH, GOD! so here are :
10 Reasons the 30th Anniversary of OH, GOD! Should Be Celebrated
1. George Burns (1896-1996) As God – On the DVD commentary (recorded in 2002) Carl Reiner says "somebody came to me and said 'how about George Burns for God?' and I said 'who else?'" Despite this comment reportedly Mel Brooks was asked first to take the role but as Reiner joked Brooks didn't want to take the demotion. Burns brings a crafty confident component to his portrayal of the grand deity and nails every line. Especially when he takes the stand at the concluding trial scene - "I swear to tell the truth, the whole truth, and nothing but the truth, so help me me."
2. John Denver (1943-1997) - As Brooks was originally considered for God, Woody Allen was the first choice to play Jerry Landers - the grocery store manager chosen to spread God's word. Allen turned the part down because he had his own take on God and that wasn't it as the story goes. So they went to a top 40 folk singer who had never acted before - good ol' boy John Denver. Not sure how they arrived there but I'm glad they did because Denver had the chops and plays no false notes here. His exasperating defenses to the skeptical ones around him - "I'm not some kind of nut!" and tense talks/fights with his wife Bobbi (Teri Garr) all show a range though not polished was still perfect for this project.
3. Teri Garr - As the disbelieving worried wife - a role she would perfect in her next film CLOSE ENCOUNTERS OF THE THIRD KIND Garr holds her own here. She recounts on the commentary - "around the time of this movie I also made CLOSE ENCOUNTERS... and I remember I used to do interviews and I'd say I just did 2 movies - one in which God is revealed as a cabdriver and one in which God is revealed as a chandelier!" Incidentally Barbara Harris was the original choice - glad they went with Garr.
4. Paul Sorvino - Way before he was an established powerhouse actor in such pivotal films as GOODFELLAS and NIXON, Sorvino had done little besides TV series work and bit parts in a few movies but when he took on the part of Reverend Willie Williams people started to take notice. Williams is a popular evangelist described as "God's personal quarterback" who draws the real God Burn's scorn. God considers him a phony and instructs Denver to tell him so. The Shrine Auditorium sermon that Denver interrupts to bring him that message is show-stopping largely due to Sorvino's invigorated scenery chewing.
5. Great If Largely Unused Supporting Cast - From William Daniels (Benjamin's father in THE GRADUATE, the voice of K.I.T.T. on TV's Knight Rider) to David Ogden Stiers (Major Winchester on M*A*S*H - the TV series) and Ralph Bellemy as Williams' lawyer every part is extremely well cast. Unfortunately a lot of performances appear to have been cut - Donald Pleasance (Blofeld in YOU ONLY LIVE TWICE, the President in ESCAPE FROM NEW YORK among other mostly villainous roles) is given very little screen time and has only one or 2 lines. A montage during the trial sequence indicates there was a lot more material but until a special edition DVD comes along we'll just have to make do.
6. Great Story - Adapted from the book by Avery Corman (who also wrote the original novel of Kramer Vs. Kramer) by Larry Gelbert (M*A*S*H, TOOTSIE) the premise is sound and well plotted out even though it follows a formulaic path it's one well worth taking. Even the courtroom showdown ending which was well worn by '77 comes across as fresh and necessary.
7. Great One-liners - Of course if you've got George Burns you would expect an arsenal of Vaudevillian one-liners and Gelbert's Oscar nominated screenplay doesn't leave him unarmed. Some examples - "The last miracle I did was the 1969 Mets. Before that, I think you have to go back to the Red Sea" and this literary gem "you know Voltaire may have had me pegged right? He said I was a comedian playing to an audience who's afraid to laugh."
8. Minor Miracles - As the before mentioned rip-off - sorry, uh...homage BRUCE ALMIGHTY and especially its lame sequel EVAN ALMIGHTY (with a budget of approximately $140 million - the most expensive comedy movie ever made) prove with their extensive use of CGI - money doesn't equal funny. OH, GOD! shows this by giving us a God who bemoans special effects and considers major miracles beneath him and his message. When a still skeptical Denver insists on a sign to fully convince him - God makes it suddenly rain. The thing is - he only makes it rain in Denver's car. He gets pulled over and tells the cop that he must have gone through a car wash with the windows open. The cop (John Ashton - talk about casting) buys it in a stormtroopers buying Luke by way of Obi Wan's Force tricks way. The only other miracles that our Lord Burns perform is a vanishing card trick and disappearing himself by way of cheap editing in his final court appeal. Those work fine so why bother with big-time spectacle that never really pays off?
9. The Carl Reiner Cameo - Sure, it's not in the league of director doing a cameo in their own film as say Hitchcock but Reiner's appearance alongside Denver on The Dinah Shore show is still good stuff. As further Reiner self referencing goes - on a hotel room television set an episode of the Reiner created The Dick Van Dyke Show plays. God - this time dressed as a bus boy turns off the TV and remarks "so many repeats."
10. A Sincere Positive Message - Yes, shut your mouth you cinematic cynics - it's true, this film has a good solid message that believers and non-believers can embrace - that our world can work and it's up to us. Best said by God himself: "you can love, cherish and nurture each other or you can kill each other."
Okay! So put it in your Netflix queue and honor thy OH, GOD! with me - won't you?
I've got to at least mention the sequels as inessential as they are. It has been a while since I've seen them but the 2002 DVD of OH, GOD! has trailers for them and they trigger my memory. The thing that has always bothered me about making a sequel to this film is simply this - Burns tells Denver when he first appears - "I picked a look you could understand. For somebody else I would've looked different." The sequels - OH, GOD! BOOK II (Dir. Gilbert Cates, 1980) and OH, GOD! YOU DEVIL (Dir. Paul Bogart, 1984) ignore this and just settle on God being George Burns. BOOK II pretty much repeats the same story as the first substituting a little girl (Tracy Richards) for Denver for extra cheesy results but at least OH, GOD! YOU DEVIL attempts a new premise - Burns plays the Devil as well and pulls off some amusing moments. Still, neither needs celebratory re-appraising - that's for sure.
Then there's the remake tentatively scheduled for 2008. According to my trusty Wikipedia source "there is currently a remake starring Ellen DeGeneres planned, which was confirmed by DeGeneres in a Time magazine interview." It even has an IMDb page and original producer Jerry Weintraub is involved but it looks like no progress has been made since it has been announced and I hope it stays that way. Hey, I like Ellen but this is a bad idea and I'm not alone in that thinking - this John Denver tribute page has a petition you can sign to stop it. I just signed it - hope you do too.