April Showers: Flirting With Disaster

waterworks each night at 11

How many of you have seen David O. Russell's Flirting With Disaster (1996)? With the exception of the stupidly maligned I ♥ Huckabees, it's his funniest film. One day it will surely be rediscovered given the attention his films regularly win now. The film centers on bickering spouses Mel & Nancy (Ben Stiller & Patricia Arquette) who are searching for Mel's birth parents. In the screwball chaotic final act, they end up sharing the guest rooms in the crowded home of drug-loving hippie conspiracy theorists (Lily Tomlin, Alan Alda, Glen Fitzgerald) with a neurotic adoption agency executive Tina (Tea Leoni) and federal agents partners Paul and Tony (Richard Jenkins and Josh Brolin) who are also lovers. Eyes start to wander: Tina and Mel get flirtatious and Tony just can't stop coming on to Nancy.

While Mel enjoys a very uncomfortable dinner downstairs, upstairs tattooed and pierced Tony walks right into Nancy's bathroom where she's brushing her teeth. She immediately gets nervous and drops a picture frame on the floor and begins babbling about prints she has at home. Should she frame them? Anything to avoid looking at this bisexual hunk in a towel. He interrupts...

Tony: Do you want to take a shower?

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Reviews: Walter Mitty & The Wolf of Wall Street

'Who can keep up during Christmas?' I asked in my column over at Towleroad yesterday and after some mumbling about mystifying release strategies for platforming properties (read it if you can't get enough of me) I got to the heart of the matter with two wide releases.  They are reprinted here with a bit of embroidery to fill out my thoughts...

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Distant Relatives: Five Easy Pieces & Greenberg

Robert here with Distant Relatives, which explores the connections between one classic and one contemporary film.

Growing up is Hard to Do
Hollywood has always been interested in man-children, and they've gone through a variety of manifestations through the years. During the silent era they were innocent clowns filled with the insecurities and curiosities of children. During the age of the screwball comedy they were flailing baffoons unable to compete with their strong professional female counterparts. In the 1950's they were dark brooding rebels looking for causes and that lead the way to the serious sixties, where young men were similarly angry (though lighter on the melodrama, heaver on the realism) painted as victims of a combination of social indifference and their own unambitions. Though if you called them "victims" to their faces, they'd probably punch yours. This contingent was fronted from Britian by the likes of Finney and Harris but soon found plenty of eager representatives in the US, not the least of whom was snide, sarcastic, and so-damn-cool Jack Nicholson. In Five Easy Pieces, Nicholson plays Bobby Dupea, a man meandering through life, trailed by the shadow of his lost potential, trying to understand who he is as adulthood passes him by.

 Almost forty years later, Ben Stiller, a man who has made his living playing the goofiest kind of man-child plays the dark and cynical Roger Greenberg, a man also trying to figure out his life in the face of shattered potential. He has a lot in common with Bobby Dupea. In both cases, the impetus for our characters' confrontations with their immaturities comes in the form of a move. But while they're both going west, they're actually heading in two different directions. Bobby is going to his family's house in Seattle, where his person will be juxtaposed against their culture and civility. Even if we want Bobby to get his act together and take his place in the world of his family, we feel as out of place there as he does. Roger meanwhile has just moved to Los Angeles where his cynicism is juxtaposed against an even greater immaturity; immaturity as an accepted state of Nirvana. He asks while at a child's birthday party "Why are all the grown men dressed like kids and all the kids dressed like super heroes?" It's a beautiful symbol for a world in which dreaming for great power and great responsibility evolveds into longing for no power and no responsibility.

 

As much as a misanthrope as Greenberg is, we feel for him at times, if only because we get to experience the horrors of L.A. through him. [more after the jump]

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