A female theatre dresser creates a stir and sparks a revolution in seventeenth century London theatre by playing Desedmona in Othello. But what will become of the male actor she once worked for and eventually replaced?
With the help of a talking freeway billboard, a "wacky weatherman" tries to win the heart of an English newspaper reporter, who is struggling to make sense of the strange world of early-90s Los Angeles.
Richard E. Grant
Around 1940, New Yorker staff writer Joe Mitchell meets Joe Gould, a Greenwich Village character who cadges meals, drinks, and contributions to the Joe Gould Fund and who is writing a ... See full summary »
Twenty-something native Vermonter Mirabelle Buttersfield, having recently graduated from college, is finding her new life in Los Angeles not quite what she was expecting or hoping. An aspiring artist, she is barely eking out a living working as a clerk at the women's evening gloves counter at Saks Fifth Avenue in Beverly Hills and thus she can barely make the payments on her massive student loans. She treats her job with a certain distance, often daydreaming as she watches the life of the rich as they shop at the store. She has made no friends, including from among her Saks colleagues, and thus lives a solitary existence, which does not assist in her dealing with her chronic clinical depression. So it is with some surprise that two men with a romantic interest in her enter her life almost simultaneously. The first is poor slacker Jeremy, who works as an amplifier salesman/font designer. Mirabelle continues dating Jeremy as only a relief to her solitary life, as Jeremy doesn't seem to ... Written by
The song played by Luther's band in the concert scene is "Lily and Parrot" from Mark Kozelek's real-life band, Sun Kil Moon off their first album "Ghosts of the Great Highway". See more »
Early in the film, the camera pans up and we see Mirabelle through her bedroom skylight window. The bedroom is clearly positioned about ten feet or so from the left wall of the apartment, suggesting another room between it and the left wall. Yet in a later shot from the ceiling, when Mirabelle lies in bed with depression, the left wall is right up against the bed and there's a window there looking outside. See more »
Some nights alone he thinks of her, and some nights alone she thinks of him. Some nights these thoughts occur at the same moment and Ray and Mirabelle are connected without ever knowing it.
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It's no real secret that through his writing, Steve Martin has depth and sentimentality that Hollywood doesn't always let him show. He has shown signs of a longing to grow old gracefully (as his almost gimmick-free gigs as Oscar host have shown) and let his acerbic wit and insight drive projects more than the over-the-top slapstick antics of the 1970s Steve Martin.
It's also no real secret that many of his recent films have been far from great.
So, still having faith in the man, and having loved the novel on which this film is based, I went in to the cinema desperately wanting to like it, but expecting to be disappointed. Largely, I was pleasantly surprised that the novel did transfer well to the screen.
Some of the credit for this belongs to director Anand Tucker, who has created some powerful images of the hustle and bustle of the LA that Martin describes in the novel, and contrasts it well with the characters who lead shallow lives, trying to be something meaningful amongst all the chaos.
Credit also goes to the actors who show that longing that drives the situation: Claire Daines as Mirabelle clearly WANTS to be social, artistic, loved; Jason Schwartzman as Jeremy WANTS to be sensitive, witty, lovable; Martin as Ray Porter clearly WANTS to be suave and considerate. Without having many jokes in the script, audiences can still appreciate the humour by seeing these pathetic struggles. When I saw it there was plenty of laughter at all the right moments.
I will, however, hasten to add that there are parts of the book that never would have translated well to the Hollywood screen, and the praise that some give the movie for serving its purpose will contain the same reasons that others wish to knock it. The book's strength is that one can feel for the characters because they are portrayed as superficial people and their lives and conversations are so shallow in comparison to the narrative that sets them up. The reasons why it works so well as a book could well be the very things that cause it to not work on the screen. Then there's the matter of a book that's so rooted in "LA sux" sentiment being made into a Hollywood movie. So maybe the musical overkill reeked of "excuse me, we're trying to tell you something". Maybe the spots of narration felt out of place and indicated that Martin is not yet over his desire to spend his life as the 'star' of his projects (him getting top billing for the movie was also a bit much, in my opinion).
Ultimately, maybe the audience members who were longing for a film with more 'depth' and 'substance' were in actuality sharing the characters' longings for the same in their own lives. Maybe the 'criticisms' are in fact backhanded compliments that the film is largely doing just what it's meant to do.
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