AdamMorgan

7/10

This was my latest venture into the world of Woody Allen and the first straight-ahead comedy. It was easy to see that this was a movie that was written by Allen because it had many of his trademark trappings, including the neurotic main character. I haven't done much research on this topic but this appears to be about the time where Allen decided to bow out as the star of his films and focus on writing and directing. The results in this movie were mixed as John Cusack was bestowed the honor of playing the lead. Regular readers to this site probably have noticed that there is regular discussion about John Cusack's role in High Fidelity. About 3 minutes into this movie I had a revelation: John Cusack can't act. He's John Cusack in everything. Some actors (Harrison Ford and Morgan Freeman, to name a couple) can get away with this but Cusack in many ways can not. Think about it... there is serious John Cusack, neurotic John Cusack, solemn John Cusack... the movies may change but he brings his 4 or 5 different voices and faces to each one. Anyway, I kind of thought that maybe Allen selected Cusack for this very reason. It is evident from the beginning of the movie that this film is about the supporting cast and not the "lead". Diane Wiest is absolutely brilliant in her role as the aging Broadway Diva. One of my first thoughts that I had about her performance is that this is what Kristine Baranski is supposed to be in some of the similar roles that she has played. The other perfomance that really carried this film was that of Chazz Palminteri. The funny thing is that he's been so good in so many movies but he's never really had a breakout role. I have to admit, his role started out very small and where Allen took him was really funny. follow me at https://IHATEBadMovies.com and facebook page IHateBadMovies

CinemaSerf

0/10

Despite his obvious enthusiasm, "Shayne" (John Cusack) can't convince producer (Jack Warden) to raise the cash to put on his latest play. There's just no demand for it, especially as his first two efforts didn't exactly set the heather on fire. Then an opportunity presents itself. It's one with compromise, though. He can have the thing fully funded if he agrees to cast "Olive" (Jennfer Tilly). Snag? Well she couldn't act her way out of a paper bag and has one of those squeaky voices that killed so many a silent-film star! Her boyfriend, "Nick" (Joe Viterelli) is the local kingpin so it's a straight choice - cast her or no cash. Much to the chagrin of the uber-theatrical "Helen" (Dianne Wiest) he decides to sacrifice his honour for his art, and what now ensues sees this mix of thespians, crooks, amateurs and temper-tantrums try to get the play on the stage. Just to make sure she's OK, her boyfriend has sent his enforcer "Cheech" (Chazz Palminteri) as a bit of security for "Olive" and his no-nonsense approach to the production histrionics of the whole thing initially brings him into conflict with the director, but gradually "Shayne" begins to realise that "Cheech" has a bit of an aptitude for writing, and so a collaboration of sorts emerges that against all the odds might just give this thing a fighting chance. Wiest is at her best here delivering a sort of "Streisand" meets "Norma Desmond" character that epitomises that generation of film star who really did believe their own publicity machine. Cusack also does well, as does Palminteri and there's an engagingly (and annoyingly) lively effort from Tilly who plays the rather witless moll to a T. It's funny at times, especially if you've ever worked in the theatre and packs quite a lot of entertainment, and swipes at that very industry, into a ninety minutes that hits the ground running and rarely stops for breath. One of Woody Allen's more original concepts that takes him away from his routine man-with-neuroses comfort, is stylishly put together, and is well worth a watch.