home
***
CD-ROM
|
disk
|
FTP
|
other
***
search
/
TIME: Almanac 1995
/
TIME Almanac 1995.iso
/
time
/
061091
/
0610421.000
< prev
next >
Wrap
Text File
|
1994-03-25
|
4KB
|
100 lines
<text id=91TT1272>
<title>
June 10, 1991: Smiles (and Yuks) Of a Summer Night
</title>
<history>
TIME--The Weekly Newsmagazine--1991
June 10, 1991 Evil
</history>
<article>
<source>Time Magazine</source>
<hdr>
CINEMA, Page 66
Smiles (and Yuks) Of a Summer Night
</hdr><body>
<p>By RICHARD SCHICKEL
</p>
<p> SOAPDISH
</p>
<p> We sometimes forget that besides providing merriment for
us yokels, show business performs an even more valuable social
function. It provides livelihoods and a home for thousands of
certifiable lunatics. The savings to our overburdened
health-care system are simply incalculable.
</p>
<p> Case in point: the cast and staff of The Sun Also Sets, a
soap opera of transcendent tackiness. Its reigning diva is
Celeste Talbert (Sally Field), so insecure that she must
periodically journey to New Jersey shopping malls so she can be
fawned over by her fans.
</p>
<p> Supporting player Montana Moorehead (Cathy Moriarty) is
scheming to supplant Celeste, and has enlisted snaky, horny
David Barnes (Robert Downey Jr.), the show's line producer, in
a plot to bring back Jeffrey Anderson (Kevin Kline), once the
soap's leading man and the star's lover. Reduced to playing
Willy Loman at a Florida dinner theater, he is eager for a
comeback. This presents a practical problem: Jeffrey was rather
definitely written out of the soap when his character was
decapitated.
</p>
<p> In the Robert Harling-Andrew Bergman script, loopy life
contrives to imitate trashy art with marvelous fidelity. There
are moments when the plot of The Sun Also Sets seems marginally
more realistic--or anyway more temperate--than the lives of
its performers. For Soapdish is something the movies rarely
attempt: a flat-out farce, all slamming doors, thrown objects,
misplaced emotions and terrific timing by a wonderful ensemble
of actors. Field has an unsuspected gift for comic malevolence,
and Kline has a way of putting a soft, almost endearing spin on
egomania. No one has ever acted bad acting better than these
two, and cool Michael Hoffman is a director who never misses the
point or rattles on past it.
</p>
<p> Show biz may be full of nut cases, but it has this saving
grace: an ability to pull itself up short, take a hard look in
the mirror and bust out laughing. When the danger of inside
jokiness is avoided, the result can be Tootsie or Noises Off.
Or Soapdish.
</p>
<p> CITY SLICKERS
</p>
<p> Late thirtysomething and first mid-life crisis loom for
three urban types lovingly played by Billy Crystal, Daniel Stern
and Bruno Kirby. What better cure for their variegated blues
than a dude cattle drive? Joining with other frustrated
fantasists, they move a herd from point A to point B under the
supervision of a hilariously traditional cowman (Jack Palance).
The script acknowledges a structural debt to Red River, but its
spin is strictly Lowell Ganz and Babaloo Mandel: sharply turned
observations on contemporary angst blended with agreeable
sentiments by Parenthood's writers. O.K., it would be nice if
this film paused to sniff the locoweed, but director Ron
Underwood yippee-ki-yos the yuppies quite smartly along a pretty
fresh trail.
</p>
<p> HUDSON HAWK
</p>
<p> By common consent, it's Ishtar for the '90s, an
overpriced, overproduced comedy that has critics blustering
moral outrage. But if you can see past the thicket of dollar
signs surrounding Hudson Hawk, you may discern quite a funny
movie--sort of an Indiana Jones send-up with a hip undertone
all its own. Bruce Willis is the title cat burglar, recruited
against his will to steal the secrets of alchemy from the
various sites where Leonardo da Vinci long ago secreted them.
His employers, Richard E. Grant and Sandra Bernhard, are
viciously funny caricatures of excessive wealth; his sidekick
is a streetwise Danny Aiello. Sacred cattle, ranging from the
CIA to the Vatican, are prodded by the Steven E. de Souza-Daniel
Waters script, and director Michael Lehmann's action set pieces
are intricately developed. In other words, Hudson Hawk is a
high-budget movie full of low-budget eccentricity. Any movie in
which a heavy is caught reading Dr. Seuss books just can't be
all bad.
</p>
</body></article>
</text>