In a World...

Written, directed, and starring Lake Bell, In a World… is the story of a vocal coach who struggles to make it in the world of the voiceover game as she contends wither very famous father and other men in an industry often dominated by men. The film is an exploration into an industry where men often runs things as a woman is trying to make it on her own terms as she copes with having to compete with her father. Also starring Demetri Martin, Fred Melamed, Rob Corddry, Michaela Watkins, Ken Marino, Tig Notaro, and Nick Offerman. In a World… is a rich and engaging film from Lake Bell.

The film explores the world of the voiceover industry as it revolves around a revered veteran, a popular voiceover actor, and the veteran’s vocal coach daughter all vying for this job to do voiceover work for a trailer for an upcoming film franchise following the death of a great voiceover artist. Yet, it’s really more about this woman who has her father’s gift for doing great voices as she struggles to make it on her own as she works as a freelance voice coach as well as do small gigs. Even as she is kicked out of her dad’s home as she lives with her sister where she copes with having to be in her father’s shadow. When opportunity knocks as she had gained two voiceover gigs that was supposed to be for someone else. It then lead to all sorts of things as she finds out she would have to compete with her father and the man whose gigs she accidentally took.

Lake Bell’s screenplay definitely explores the struggle for women to make it in an industry where men are often the driving force as it sort of plays as an allegory of the way the film industry is where it would favor men instead of women. Even as her character Carol Solomon is someone who is very good at creating voices and helping other actors with their voices. Unfortunately, it hasn’t done enough to get her own career in gear despite the help of some people including sound engineer Louis (Demetri Martin) who has a crush on her. Her father Sam Sotto (Fred Melamed) is even less supportive as he is more concerned in grooming the already popular voiceover actor Gustav Warner (Ken Marino) to be the man who will say the words “in a world…” that the late Don LaFontaine has been famous for.

While there’s a subplot involving Carol’s sister Dani (Michaela Watkins) who is struggling with her marriage to Moe (Rob Corddry), it does play into Carol using her voice to help them. Even as it reveals the sisters’ shared frustration towards their father who is often dismissive about Carol’s work as doesn’t think women have a place in the voiceover industry. Carol’s encounter with Gustav at his party would only complicate things due to Sam being more supportive towards Gustav as he is unaware of the fact that Carol was the one that took Gustav’s gigs due to Gustav being sick. It would definitely lead to this competition where Carol knows she has to compete with her dad and Gustav for this gig but she doesn’t have their egos as she knows that she will at least she put some effort if she loses the gig.

Bell’s direction is very simple as she aims for something that feels very intimate as well as provide some insight into a woman trying to break into a male-dominated industry. Especially as it has something that is a low-budget film but doesn’t have the look nor the feel of a low-budget film where Bell definitely creates some unique compositions such as close-ups and medium shots. Notably in the former as it plays to the power of the voice such as this climatic montage of Sam, Carol, and Gustav recording their voices for this trailer. The direction also has some effective use in its approach to humor that is very light-hearted as Bell prefers to create something that feels natural while not being afraid of displaying some quirks. Overall, Bell creates a very fascinating and entertaining film about a woman trying to get her break in the art of voice-overs.

Cinematographer Seamus Tierney does excellent work with the film‘s cinematography as it is vibrant and colorful for some of the film‘s daytime scenes while using some unique lights and shades for some of its nighttime interior scenes. Editor Tom McArdle does brilliant work with the editing as it‘s mostly straightforward while its climatic montage is very inventive to showcase how Sam, Carol, and Gustav each prepare themselves for this gig. Production designer Megan Fenton, with set decorator Elizabeth Garner and art director Ashley Fenton, does nice work with the look of the homes that Sam and Gustav live in as well as the small apartment that Dani and Moe live at.

Costume designer Lindy McMichael does terrific work with the costumes as it‘s mostly casual with the exception of the party dress that Carol wears to Gustav‘s party. Sound editor Fredrick Helm does fantastic work with the sound editing to provide the usage of voice-over and how they‘re created as well as in the climatic montage where Carol, Sam, and Gustav are recording their narrations. The film’s music by Ryan Miller is wonderful as it‘s mostly a keyboard-driven score that is low-key to play into its humor while music supervisor Chris Douridas creates a very fun soundtrack that features a diverse array of music from Mulatu Astatke, Warren G and Nate Dogg, Ice Cube, Squeeze, Salt-N-Pepa, Rick James, the Commodores, Slick Rick, Eddie Money, the Police, Gerry Rafferty, and Tears for Fears.

The casting by John Papsidera is amazing as the film features cameos from Jeff Garlin, Eva Longoria, and a couple of noted voice-over actors in Joe Cipriano and Mark Elliott. Other notable small roles include Talulah Riley as a British neighbor of Moe who helps Carol out in finding a dress, Stephanie Allynne as the sound studio receptionist Nancy whom Louis goes on a bad date with, Corsica Wilson as a woman with a sexy baby voice that Carol meets, Jason O’Mara as an attractive Irishman that Dani meets in her work as a hotel concierge, Tig Notaro as the sound engineer Cher, and Geena Davis in a wonderful appearance as a film executive who would present the trailer that Carol, Sam, and Gustav have been competing for. Nick Offerman is excellent as the sound studio manager Heners who is trying to make sure things are going well as he reveals to despise Gustav for personality reasons. Alexandra Holden is terrific as Sam’s much-younger girlfriend Jamie who tries to smooth things between Sam and his daughters as well as be his supporter. Rob Corddry is fantastic as Carol’s brother-in-law Moe as a small-time chef who is trying to get some time with his wife as he copes with her frequent absences as he would help Carol out with her things.

Ken Marino is superb as the voiceover actor Gustav Warner as he is a guy with a sense of charm but also a bit of smugness which Marino manages to flesh out so well. Demetri Martin is brilliant as Louis as Carol’s sound engineer who has a thing for her as he copes with being single and Carol’s encounter with Gustav. Michaela Watkins is great as Carol’s sister Dani who copes with her work as well as an encounter with an attractive Irishman whom she met at work. Fred Melamed is incredible as Dani and Carol’s father Sam Sotto as this famous voiceover actor who has everything but is often distracted by his own ego and what he wants to do which often leads to a troubled relationship with his daughters. Finally, there’s Lake Bell in a remarkable performance as Carol as this vocal coach who is trying to get her break as she copes with competing with her father as well as the sexism she is facing in the industry as it’s a performance full of charm and naturalistic humor.

In a World… is an extraordinary film from Lake Bell that features a fantastic ensemble cast and a compelling premise that is very engaging. It’s a film that manages to be quite witty as well as have something to say about women trying to make it in an industry that is often dominated by men. In the end, In a World… is a marvelous film from Lake Bell.

© thevoid99 2014

Beetlejuice

Directed by Tim Burton and screenplay by Michael McDowell and Warren Skaaren from a story by McDowell and Larry Wilson, Beetlejuice is the story of a recently deceased couple who asks a deranged ghost to get rid of a family who have moved in to their house. The film is a strange romp of horror and comedy where a couple try to deal with living with an eccentric family where its teenage daughter can see them due to her fascination with death. Starring Michael Keaton, Geena Davis, Alec Baldwin, Jeffrey Jones, Catherine O’Hara, Winona Ryder, Glenn Shadix, Robert Goulet, and Sylvia Sidney. Beetlejuice is a wild and extremely insane film from Tim Burton.

Following their death due to an accident, a newlywed couple deal with new inhabitants of their house that includes a death-obsessed teenage girl prompting the couple to hire the services of a crazed ghost by the name of Beetlejuice (Michael Keaton). It’s a film that doesn’t play by the rules of conventional horror as it’s more of a comedy where this recently deceased couple cope with their death as well as the fact that they’re forced to share the house with a New York City family and their offbeat interior designer. Yet, Adam and Barbara Maitland (Alec Baldwin and Geena Davis, respectively) do befriend this Goth teenager in Lydia (Winona Ryder) who is the only one that can see them due to her fascination with death. Even as it is frowned upon by the afterworld to make friends with the living as Beetlejuice would cause hell for the Maitlands.

The film’s screenplay starts off with the life of the Maitlands as they just bought their new home which they refuse to sell from some potential buyers as a simple errand goes wrong which lead to their deaths. Upon this discovery that they’re dead and any place outside of their house has them in a very strange afterworld as they would eventually go to a caseworker named Juno (Sylvia Sydney) who reveal what they have to deal with as well as what to do to get rid of their new inhabitants in real estate developer Charles Deetz (Jeffery Jones) and his aspiring sculptor in Delia, who is Lydia’s stepmother,.

While the Maitlands try to haunt them, they would eventually succeed in haunting Charles and Delia but end up amusing them while their interior designer Otho (Glenn Shadix) would realize what is going on. Adding to this sense of chaos and the Maitlands’ attempt to get rid of the Deetzes is Beetlejuice whose approach to scaring the living is cruel and diabolical. Yet, there is something about the character that is so off-the-wall as he ends up being this very unconventional antagonist. Even as he has this macabre sense of humor who thinks The Exorcist is a comedy while is very crude to the Maitlands as he also pines for Lydia who would get to know what Beetlejuice is.

Tim Burton’s direction is definitely off the wall where it starts off being this quaint little story about a nice couple living in this small New England town. Then comes this very chilling accident where it plays to the sense of macabre humor that would be prevalent in the film. Even as Burton’s compositions ranging from some wide shots to some offbeat close-ups and medium shots showcase something that is really out of this world. Notably the scenes in the afterlife where the dead arrive in a waiting room to meet their case worker and later learn how to live as a dead person. Much of the presentation of the afterworld is presented with some unique visual effects and stop-motion animation to play into this strange approach to black humor that Adam and Barbara have to deal with.

The direction also had Burton create some moments that really amp up the line of reality and fantasy such as a dinner party with the Deetzes where Delia finds herself singing The Banana Boat Song where she has no control of what is happening to her. It’s a sequence that mixes humor and horror in the most absurd way as it refuses to play into any kind of traditional or conventional genre but rather a mish-mash of genres. Even as the film’s climax would maintain that offbeat approach of horror-comedy would force the Maitlands to do something as Beetlejuice would just cause hell for everyone. Overall, Burton creates a very spectacular and hilarious film about two dead people hiring a psychopathic ghost to get rid of people who moved into their home.

Cinematographer Thomas E. Ackerman does fantastic work with the film‘s cinematography from the use of colorful lights for some of the film‘s interior scenes including the dinner scenes and the meeting with Juno. Editor Jane Kurson does excellent work with the editing as it‘s quite straightforward with some rhythmic cuts to play into the film‘s humor and suspense. Production designer Bo Welch, with set decorator Catherine Mann and art director Tom Duffield, does brilliant work with the set design from the house in and out based on Otho‘s work as well as the world of the afterlife including the sand dunes. Costume designer Aggie Guerard does superb work with the costumes from the Goth clothes that Lydia wears to the fashionable upscale New York City look that Delia and Otho wears.

Makeup designers Steve La Porte, Ve Neill, and Robert Short do amazing work with the makeup from the look of Beetlejuice as well as the look of the dead characters in the afterlife. Visual effects supervisor Alan Munroe does awesome work with the visual effects from the use of stop-motion animation to the design of the sand dunes world that would feature sandworms. Sound editor Richard L. Anderson does nice work with the sound from some of the low-key sound work in some of the scenes at the house to the sound effects that occur in the world of the afterlife. The film’s music by Danny Elfman is incredible as it is very offbeat with its playful orchestral score that is filled with strange choirs and string arrangements while the soundtrack features some amazing songs by Harry Belafonte to play into the film’s offbeat tone.

The casting by Janet Hirshenson and Jane Jenkins is just phenomenal as it features some notable small roles from Annie McEnroe as the woman who tries to sell the Maitlands’ home early in the film, Patrice Martinez as an afterworld receptionist, Dick Cavett and Susan Kellermann as a couple of guests at the dinner party, and Robert Goulet as Charles’ boss Maxie Dean who wants Charles to do some things to the small town. Glenn Shadix is very funny as the interior designer Otho who tries to give the Maitlands’ home a post-modern look that plays to his taste. Sylvia Sydney is amazing as the deceased case worker Juno who often smokes a cigarette where smoke would come out of her neck as she is very blunt and to the point about what not to do. Jeffrey Jones is excellent as Charles Deetz as a real estates developer who is eager to wanting a simple life as he copes with the chaos involving ghosts. Catherine O’Hara is amazing as Delia as this aspiring sculptor who wants to make it as an artist while wanting to live the life of a New York City artist.

Winona Ryder is brilliant as the troubled Goth teenager Lydia whose fascination with death has her meeting the Maitlands as she wants to die due to loneliness. Alec Baldwin is fantastic as Adam Maitland as a guy who designs models who tries to make sense of everything that goes on. Geena Davis is superb as Barbara Maitland who also tries to make sense as she doesn’t want to bring harm to Lydia despite what the people in the afterworld says. Finally, there’s Michael Keaton in a magnificent performance as the titular role despite only appearing in less than a third of the film. Yet, he steals every moment from his crude approach to humor as well as being completely wild in every kind of mannerism that he does as it’s really an iconic performance for the ages.

Beetlejuice is a rapturous yet extremely fun film from Tim Burton that features a tour-de-force performance from Michael Keaton in the titular role. Along with a great cast as well as some amazing technical work, it’s a film that showcases Burton’s gift for blending weird and macabre humor with an absurd approach to horror. In the end, Beetlejuice is an outstanding film from Tim Burton.

Tim Burton Films: (Pee-Wee’s Big Adventure) - Batman - (Edward Scissorhands) - Batman Returns - Ed Wood - (Mars Attacks!) - (Sleepy Hollow) - (Planet of the Apes (2001 film)) - (Big Fish) - (Charlie & the Chocolate Factory) - (Corpse Bride) - (Sweeney Todd: The Demon Barber of Fleet Street) - (Alice in Wonderland (2010 film)) - (Dark Shadows) - (Frankenweenie) - (Big Eyes) - (Miss Peregrine's Home for Peculiar Children) - (Dumbo (2019 film)) - Beetlejuice Beetlejuice

© thevoid99 2014

The Fly (1986 film)

Based on the short story by George Langelaan and its 1958 film adaptation directed by Kurt Neumann, The Fly is the story about a scientist whose attempt to create a teleport machine has suddenly gone wrong when a fly ends up in one of the pods he was in as his girlfriend tries to help him. Directed by David Cronenberg and screenplay by Cronenberg and Charles Edward Pogue, the film is a modern-day version of the 1958 film that explores a man’s experiment gone wrong as he starts to lose his idea of humanity. Starring Jeff Goldblum, Geena Davis, and John Getz. The Fly is an astounding yet unsettling sci-fi horror film from David Cronenberg.

The film has this simple premise in which a brilliant yet eccentric scientist named Seth Brundle (Jeff Goldblum) who has been trying to create a teleport machine in the hopes that the idea of traveling via air, road, or sea would ceased to exist. After showing it to a journalist named Veronica Quaife (Geena Davis) who meets him at a science convention, she helps give him ideas on how something living can transport from one pod to another. When Seth decides to teleport himself from one pod to another, the experiment works until Veronica is convinced something has gone wrong when it became clear that a housefly was in the pod with Seth as he starts to disintegrate and lose his humanity where he becomes this strange hybrid between man and fly. It’s an idea that has all of the elements that is perfect for a sci-fi horror film with elements of drama and dark humor as it plays into a man’s obsession with becoming brilliant yet finds himself becoming something else.

The film’s screenplay has a unique structure that plays into world of Seth Brundle as the first act is about him meeting Veronica and showing her his teleport experiment. The two eventually have a relationship much to the dismay of Veronica’s editor/former boyfriend Stathis Borans (John Getz) who learns about the affair as he follows Veronica. An act of jealousy from Brundle over Veronica’s relationship with Stathis would have him try the experiment itself as its second act would play into his belief that the experiment has made him better. Veronica however, starts to question him about what he’s become as hairs are coming out of a scar from his back. It is all part of the schematics of what is expected in the genre yet David Cronenberg and co-screenwriter Charles Edward Pogue add an element of human drama into the story. Especially in the love story between Seth and Veronica as Seth finds someone he can talk to while Veronica is fascinated by Seth’s genius.

By the film’s second half where Veronica becomes concerned for Seth’s well-being and his denial about what he’s becoming. It all plays to this very chilling third act where Seth has accepted into what he’s becoming as he tries to find a way to save himself. Veronica tries to help but couldn’t believe the state that he’s become while there’s another element that ups the drama as well as everything else that would play into Veronica’s own well-being. This would get Stathis involved as he tries to help Veronica while discovering what has happened to Seth where it would play into a very intense climax.

Cronenberg’s direction is very engaging in not just the way he plays into the drama but also take a slow burn into creating the horror that is to come. Many of the compositions that Cronenberg does for its first act is quite simple as it plays out as an understated drama with a bits of humor and romance where it builds up the romance between Seth and Veronica. Yet, there’s the Stathis character who is kind of a smarmy schmuck that still has feelings for Veronica as he would definitely drive Seth into jealousy which makes him wanting to test his teleport device himself. Cronenberg would create these shots of Seth showing the newfound strength and abilities that he has after being teleported but there are a few moments where Cronenberg would play into that sense of horror through a few key shots and sounds that would create a sense of foreboding.

There are bits of horrific moments that occur in the first half but it would all come to play in the second half such as a scene where Seth leaves in a state of anger to get a drink as he would do some things that would begin his de-evolution as a human being. Notably in the third act where the horror becomes very real when Veronica finally sees what Seth has become after a few weeks where he’s become this very horrific hybrid of human and fly. There is also an added dramatic stake that would increase the sense of horror where Seth’s state of mind becomes more erratic and less human as it involves Veronica. Even as the horror becomes this mixture of gore and body horror as there’s some drastic decisions to be made as well as tragedy over what Seth had become. Overall, Cronenberg creates a very intense and terrifying film about a man’s experiment that went horribly wrong.

Cinematographer Mark Irwin does excellent work with the film‘s cinematography from the use of lights to play into the interior of Seth‘s loft as well as some of the look of the many locations set in Toronto. Editor Ronald Sanders does brilliant work with the editing by creating some methodical cuts to play up the horror as well as some rhythmic cuts to showcase Seth‘s state of mind as it becomes erratic. Production designer Carol Spier, with set decorator Elinor Rose Galbraith and art director Rolf Harvey, does amazing work with the set pieces from the look of Seth‘s loft as well as the design of the pods.

Costume designer Denise Cronenberg does nice work with the costumes as it‘s mostly casual with the men wearing suits while it‘s Veronica that gets to wear some more stylish clothes. Special makeup effects by Stephen Dupuis and Chris Walas is tremendous for the look of Seth in the state he‘s in where he slowly starts to look like a freak with some very disturbing results as well as what he would look like later on as it‘s makeup work at its finest. Sound editors David Evans and Wayne Griffin do superb work with the sound from the way the pods sound when the doors open to some of the intimate moments such as the sound of the housefly. The film’s music by Mark Irwin is fantastic for its chilling score which is a mixture of low-key electronics and broad orchestral arrangements to play out the sense of horror and suspense.

The casting by Deirdre Bowen is terrific as it features a mostly small cast that includes Leslie Carlson as a doctor friend of Stathis, Joy Boushel as a woman at a bar Seth meets, George Chuvalo as that woman’s friend, and David Cronenberg making a cameo as a gynecologist in a very terrifying scene. John Getz is excellent as Stathis Borans as a man who has feelings for Veronica as he is very smarmy around her until he learns about what is happening to Seth as he tries to help Veronica. Geena Davis is remarkable as Veronica Quaife as a journalist who falls for Seth as she is later terrified by the changes he’s going through as she tries to help him while dealing with something that would complicate everything. Finally, there’s Jeff Goldblum in a magnificent performance as Seth Brundle as this brilliant yet weird scientist who hopes to change the world with a teleport machine only to succumb to the condition that would make him less human.

The Fly is an outstanding film from David Cronenberg that features brilliant leading performances from Jeff Goldblum and Geena Davis. Along with some great technical work in its look, music, and its award-winning makeup effects. It is definitely a film that can be classified as what a horror film should be and more. Even as it has that element of human drama and suspense that makes it stand out to appeal to audiences who aren’t into horror. In the end, The Fly is a phenomenal film from David Cronenberg.

David Cronenberg Films: Stereo - Crimes of the Future - Shivers - Rabid - Fast Company - The Brood - Scanners - Videodrome - The Dead Zone - Dead Ringers - Naked Lunch - M. Butterfly - Crash - eXistenZ - Spider - A History of Violence - Eastern Promises - A Dangerous Method - Cosmopolis - Maps to the Stars - Crimes of the Future (2022 film)

The Auteurs #26: David Cronenberg: Pt. 1 - Pt. 2

© thevoid99 2013

Tootsie

Originally Written and Posted at Epinions.com on 6/4/08 w/ Additional Edits & Revisions.

Directed by Sydney Pollack and written by Larry Gelbart, Murray Schisgal, and Don McGuire with additional contributions from Barry Levinson, Robert Garland, and Elaine May. Tootsie tells the story of Michael Dorsey, an actor who is brilliant but extremely difficult as he tries to raise money for a play he co-wrote. Realizing that no one will hire him after his friend lost a huge part, he decides to play the part in a TV soap opera by dressing as a woman. During this time, he battles a sexist director while falling for one of his co-stars as well as attracting the attention of men. Starring Dustin Hoffman, Jessica Lange, Teri Garr, Dabney Coleman, Charles Durning, George Gaynes, Sydney Pollack, Geena Davis, Doris Belack, and Bill Murray. Tootsie is a brilliant, funny, sweet comedy that shows how a man becomes a better man as a woman.

What happens when a brilliant but difficult actor who can't get work when he decides to dress up as a woman to get a role for a TV soap opera? That is essentially the premise of the film as it is a mixture of comedy and romance where it all centers around the character of Michael Dorsey (Dustin Hoffman) who is a very gifted actor but is always difficult as the last job he got was playing a tomato for a commercial. He also helps out other actors where one of his friends in Sandy (Teri Garr) got turned down in an audition to play a role in the daytime soap opera Southwest General where Michael dresses up as a woman to get the part. With only his roommate Jeff Slater (Bill Murray) and his agent George Fields (Sydney Pollack) know the truth, Michael becomes a hit in the show despite having to deal with a sexist TV director (Dabney Coleman) while helping out an aging lead actor (George Gaynes) and falling for one of his co-stars in Julie Nichols (Jessica Lange). Throughout the course of the film, Michael Dorsey not only learns how to be a better man but also find out more about what it means to be a woman.

The film's script is a mix of romance, comedy, and light-hearted drama where it acts as a genre-bender but it is rooted in its comedy genre. What makes this film so brilliant is a funny, witty script that is filled with lot of light-hearted humor and dialogue, improvisation, and characters that audiences can relate to and root for. The script written by Larry Gelbart and Murray Schisgal is truly wonderful in how a brilliant but out-of-work actor is so desperate for work to raise money for his own play. He'll even dress up like a woman to get the role only to fall for a woman while realizing that being a woman makes him a better man in understanding them. The film is also in some strange way, a feminist film as Michael Dorsey makes Dorothy Michaels into a feminist of sorts. Particularly in one scene where she is acting on the TV show to a character playing an abused woman. Michaels' point of view about things makes her into a feminist character who helps women stand up for themselves and such.

While the script works as a part-feminist film with a man playing the feminist, it's still a comedy but also a romantic-comedy in the storyline between Michael/Dorothy and Julie. When Michael is being himself in a scene with Julie, he acts like a jerk but as Dorothy, he acts as her close friend as he gets a sense of understanding in being a woman. This is where Sydney Pollack's direction is at its brilliance in building up the relationship between Michael/Dorothy and Julie while allowing the audience to get to know its supporting characters including Julie's father Les (Charles Durning) who falls for Dorothy. With Pollack's background in television and theater, he explores the world of acting through its different forms. Both TV and theater as the character of Michael uses his skills to play to both mediums. Pollack's presentation of the TV soap format is very realistic in how the director and producer work around everything and how the actors rehearse and read their lines.

The sense of improvisation and looseness is also key to Pollack's direction as he lets the comedy flow naturally while not go way into silly, slapstick humor. Allowing the actors including himself, to say funny lines and be in character while letting the audience feel relaxed and giving them a good time. The result is truly superb as Pollack's direction is truly top-notch and smoothly entertaining.

Cinematographer Owen Roizman does a good job with the film's look with his polished yet colorful camera work to show the style of lighting for TV soaps and such while the shots of the exterior of New York City is wonderful to look at. Editors Fredric and William Steinkamp do an excellent job with the film's pacing and cutting style that is smooth and relaxing to play to the film's unique tone. Production designer Peter S. Larkin and set decorator Thomas C. Tonery do a fantastic job with the looks of the different apartments of Michael and Julie as well as the set designs of the soap opera set they created. Costume designer Ruth Morley and supervisor Bernie Pollack do a fantastic job with the film's costumes. Particularly on the dresses that Dustin Hoffman wears as well as the clothes of the cast for the soap opera.

Sound recordist Phillips Rogers does a fine job with the film's sound including the atmosphere of TV production and such. The film's music by Dave Grusin is bouncy and melodic as it leans towards the sound of soft rock. Yet, Grusin along with noted lyricists Alan & Marilyn Bergman create two memorable songs for the film both sung by Stephen Bishop. The upbeat title song and the love ballad It Might Be You, the latter of which was a hit song that works for the film's light-hearted romantic tone.

The cast assembled by Toni Howard and Lynn Stalmaster is excellent as it features small appearances from the likes of Estelle Getty, Ellen Foley, and Christine Ebersole plus cameo appearances from Andy Warhol and a then-unknown Marg Helgenberger. Memorable small performances from Amy Lawrence as Julie's daughter, Anne Shropshire as Amy's scary nanny, and the late Lynn Thigpen as Carlisle's assistant director. Doris Belack is great as the show's producer Rita Marshall who hires Dorothy on the spot while convinced that the show's success and increased ratings is all due to her. In her film debut, Geena Davis is good as a young actress who first appear in her underwear as she makes Dorothy a bit nervous while being one of the women Ron is having an affair with. George Gaynes is wonderfully funny as an aging actor who is forced to read his line through cue cards and such as Dorothy gives him confidence as he also falls for her. Sydney Pollack is great in his cameo as agent George Fields who has some of the funniest lines as Michael's agent who keeps telling him that no one will work with him.

Dabney Coleman is excellent as the sexist TV director Ron Carlise who likes to sleep around with other women and treat Julie inferior to him as he dukes it out with Dorothy Michaels. Charles Durning is brilliant in his charming role as Julie's father Les who tries to woo Dorothy while showing a softer side as a man longing for love since the death of his wife a long time ago. Teri Garr is great in her role as the insecure Sandy, a struggling actress who has a hard time getting a role only to duped by Michael's own flirtations as she finally gains confidence as an actress. Bill Murray is amazingly funny as Jeff Slater, Michael's laid-back roommate who knows what Michael is doing as Murray has some of the funniest one-liners film with his deadpan delivery that is Murray in classic form. Then there's Jessica Lange in an Oscar-winning performance as Julie Nichols. Lange's understated, graceful performance is a wonderful mix of beauty and depth as a young actress struggling to be a single mom and juggling an unhappy relationship as she gains confidence with help from Dorothy on her life as a woman. Lange, often seen as a pretty face, proves her talents as an actress in which, she wins her first Oscar for Best Supporting Actress.

Finally, there's Dustin Hoffman in one of his iconic performances as both Michael Dorsey and Dorothy Michaels. Hoffman's performance as Dorsey is brilliant for someone who is trying to be a total professional and artist who can't catch a break only to understand what women are. Hoffman as Michaels is a character full of charm and attitude as it's a brilliant performance-within-a performance that just knock the walls down. Hoffman is truly amazing from start to finish from the early scene of him acting various characters like an old man to a boy that shows his superb talents as one of cinema' finest actors.

Tootsie is a magnificent film from Sydney Pollack thanks to Dustin Hoffman's incredible leading performance. Along with Jessica Lange's touching supporting performance as well as other memorable performances from Teri Garr, Dabney Coleman, Charles Durning, and Bill Murray. The film is definitely one of the finest comedies of the genre as well as engaging for the way an actor whose desperation to find work has him getting a better understanding of what it means to be a man by pretending to be a woman. In the end, Tootsie is a spectacular film from Sydney Pollack.

Sydney Pollock Films: (The Slender Thread) - (The Property is Condemned) - (The Scalphunters) - (Castle Keep) - They Shoot Horses, Don't They? - (Jeremiah Johnson) - (The Way We Were) - (The Yakuza) - (Three Days of the Condor) - (Bobby Deerfield) - (The Electric Horseman) - (Absence of Malice) - (Out of Africa) - (Havana) - (The Firm) - (Sabrina (1995 film)) - (Random Hearts) - (The Interpreter) - (Sketches of Frank Gehry) - (Amazing Grace (2018 film))

© thevoid99 2013

LAMB Movie of the Month: The Long Kiss Goodnight

Directed by Renny Harlin and written by Shane Black, The Long Kiss Goodnight is the story of a small town schoolteacher whose life following a car accident changes when she starts to have memories of her old life as an assassin. With help from a private detective, the two evade people trying to kill her while they also try to save her kidnapped daughter. Starring Genna Davis, Samuel L. Jackson, David Morse, Yvonne Zima, Craig Bierko, and Brian Cox. The Long Kiss Goodnight is a thrilling yet exciting film from Renny Harlin.

Samantha Caine (Geena Davis) is a schoolteacher from a small Pennsylvanian town as lives a quaint, happy life with her daughter Caitlin (Yvonne Zima) and boyfriend Hal (Tom Amandes). Though she has no recollection of her life following Caitlin’s birth where she’s paid investigators to find any information, she seems content until driving an intoxicated man home where she has an accident. Despite her recovery, Caine starts to have awful dreams about another woman that looked like her as other things start to pop up. When a one-eyed convict named Jack (Joseph McKenna) escapes from jail to attack Samantha after seeing her on TV, an attempt on Samantha’s life failed due to Samantha’s sudden defense skills.

Mitch Hennessey (Samuel L. Jackson), a private investigator, arrives to help Samantha uncover her old identity as the two go on a road trip. Though Hennessey is a low-rent investigator with little accomplishments, he helps Samantha as they hope to meet a man named Dr. Nathan Waldman (Brian Cox) to help uncover Samantha’s true identity. Yet, an old suitcase that Hennessey found reveals to be a sniper rifle as Samantha wonders who she was as she and Mitch deal with people out to get her until Waldman arrives to help them. After refusing to believe Waldman about Caine’s true identity as Charlene “Charly” Baltimore, Samantha and Mitch decide to meet a named Luke (David Morse) for answers. Yet, the two realize it’s a trap as they learn that Luke was an intended target that Charly was supposed to kill.

After a horrific torture, Samantha escapes along with Hennessey where she regains her old identity and becomes Charly again. With Charly dismissing her life as Samantha, Mitch becomes worried where they learn that Charly’s old CIA boss Leland Perkins (Patrick Malahide) has teamed up with a terrorist named Timothy (Craig Bierko), who was Charly’s old lover. Realizing that they want to rid of her and plan a big terrorist attack near Niagara Falls, Charly/Samantha and Mitch decide to stop them while learning that Timothy has kidnapped Caitlin. With an ever bigger revelation that involves Timothy, Samantha has to embrace both herself and Charly to stop Timothy and his plans.

The film is about a woman who eventually regains her memory realizing that she used to be a trained assassin for the CIA. With the help of a wise-cracking investigator, they figure who is trying to kill her and why that leads to a climatic battle filled with gun battles, knife-fights, and explosions. Yet, it’s part of what Shane Black creates with his script about the idea that this quaint, lovely schoolteacher used to kill people for a living. The script has a lot of Black’s sense of humor and one-liners along with thrilling action sequences. Yet, it’s the first script Black wrote where the protagonist is a woman as he brings a wonderful complexity to Samantha Caine/Charly Baltimore. A woman who seems content until parts of her past including knife-play and being a bit tougher starts to appear.

Black’s portrayal to give characters like Caine and Mitch Hennessey some development and make them more than caricatures are one of the reasons why he is a cut above most Hollywood screenwriters. Hennessey may be a bit of a comic relief and reluctant partner but he’s also a man that is trying to redeem himself towards his ex-wife while finding the moment that would break him out of low-paying gigs. While some of the villains, with the exception of the Luke character, are caricatures. They do provide enough motivation for Caine and Hennessey to stop them as Black creates a very engaging yet fun script that does more with what its genre intends.

Renny Harlin’s direction is very stylish but also straightforward as he goes to basics for many of the film’s lighter moments such as the comedy and light-dramatic moments. He does manage to create some interesting compositions for some of those scenes including a scene late in the film where Mitch is lying down on the road having a smoke as Harlin shoots the scene from above with a crane shot. The action sequences has all of the touches that Harlin is known for that is bombastic and thrilling. Yet, he does restrain himself a bit to let audience see what is going on. While he creates a film where people know what’s going to happen that is typical of a lot of action films. Harlin does manage to create something that is solid and entertaining.

Cinematographer Guillermo Navarro does some excellent work with the cinematography from snowy exteriors of the scenes that were shot mainly in Ontario along with stylish camera work for some of the nighttime action scenes. Editor William Goldenberg does a fantastic job with the editing as he maintains a rhythmic yet stylish feel to the film with jump-cuts and fast-paced action while it doesn’t move too fast for the audience to see what is going on.

Production designer Howard Cummings, along with art directors Steve Arnold and Dennis Davenport plus set decorator Michael Taylor, does some very good work with the set pieces such as the homes the characters live in to the hotel lodge for the film‘s climatic showdown. Costume designer Michael Kaplan also does some good work with the costumes from the golf-like clothing that Mitch wears to the different array of clothes that Samantha/Charly would wear throughout the film. Visual effects supervisor Steven Robiner does some nice work with some of the visual effects provided such as Samantha‘s flashback scene though the final battle has a few that looks quite scratchy.

Sound editor Stephen Hunter Flick does some stellar work with the sound to capture the sounds of carolers to the chaos of the gunfights as it‘s some notable work that is expected in action films. Alan Silversti’s score is a worthwhile highlight of the film for the way it plays up the suspense and action with some bombastic moments though it does get over-used in parts of the film. Music supervisor Bonnie Greenberg does create a wonderful soundtrack that includes cuts by Santana, LaBelle, Elvis Presley, Dean Martin, Dan Seals and John Ford Coley, Marvin Gaye and Tammi Terrell, Muddy Waters, Neneh Cherry, and Tracy Bohnam to add some diversity and humor to the film.

The casting by Mary Vernieu and Ronnie Yeskel is brilliant as it features some notable appearances from Sharon Washington as Mitch’s ex-wife, Edwin Hodge as Mitch’s son, G.D. Spradlin as the President of the United States, Melina Kanakardes as Mitch’s assistant Trin, and Joseph McKenna as the one-eyed killer Jack. Other notable small roles include Tom Amandes as Samantha’s boyfriend Hal, Patrick Malahide as the corrupt government official Perkins, and David Morse as the cool but devious Luke. Brian Cox is very good in a small role as Dr. Nathan Waldman, a former mentor of Charly who tries to help her while Yvonne Zima is also good as Samantha’s daughter Caitlin. Craig Bierko is pretty decent as the smarmy villain Timothy as Bierko gets to ham it up despite the fact that it’s a typical caricature of all villains in action films like this.

Samuel L. Jackson is phenomenal as Mitch Hennessey, a humorous yet street-smart private investigator who helps out Samantha while dealing with her true identity and the danger they encounter. Jackson brings a lot of fiery humor too his character that often has him singing a Muddy Waters tune with different lyrics as Jackson gives one of his most entertaining performances of his career. Geena Davis is excellent in the dual roles of Samantha Caine and Charly Baltimore. For Caine, she plays her as a woman that is quaint and sweet only to be scared by the dark skills she has. When she becomes Charly, Davis lets herself be loose and cool as she brings a nice complexity to her role as it’s one of better performance that is complimented by her chemistry with Samuel L. Jackson.

The Long Kiss Goodnight is a stellar yet fun action film from Renny Harlin and screenwriter Shane Black. Featuring superb performances from Geena Davis and Samuel L. Jackson, this is one of Harlin’s better films along with Cliffhanger and Die Hard 2. For Black, it’s one of his better scripts following the somewhat-underrated 1993 action film Last Action Hero as it features a lot of the humor that Black puts into his film. In the end, The Long Kiss Goodnight is an entertaining yet captivating film from Renny Harlin and Shane Black.

© thevoid99 2011