It's a good thing he didn't know too much, or we might
still be sitting in the cinema watching this nonsense.
Know what it's like when your brother shows up for an
unexpected visit? Especially if this should happen to
be the evening you've planned a high-profile business
dinner at home which is meant to be the next crucial
step on the ladder determining your career. The
brother is exactly what you don't need, especially when
it's someone like Wallace Ritchie (Bill Murray), a video
store clerk from Iowa. Sibling James (Peter Gallagher),
with an assisting prod from wife Barbara (Anna
Chancellor), has the clever idea of getting a ticket to
the "Theater of Life" performance now running in the
city and dumping the dud for the evening. This theater
group gives participatory experimental performances
which demand that visitors become part of the show.
Sooner than you can say "psychodrama," a telephone
call intended to give instructions to a killer, but
mistaken for a set of instructions to start the
performance, followed by a second phone call, to the
same booth, intended to give instructions to start off the
performance, but mistaken to be directives for murder,
result in the death of an actor from the company and
the establishment of Wallace among the criminal circuit
as a notorious hit man. Mr. Ritchie, however, continues
onward throughout the evening (managing, long the
way, to disturb his brother's dinner party twice) amazed
by how lifelike the show is. If you think this sounds
incredible, not to mention implausible, you wouldn't
believe how the plot continues. I, however, will not the
one to tell it to you, since it would be, at best, a waste
of time.
Director Mark Tarlov and producer Jon Amiel believe
that the main character of the film has overtones of
Chauncey Gardiner in "Being There". This Hal
Ashby/Peter Sellers classic may come to mind during
the endless events and circumstances that take control
of Wayne Ritchie's life during what seems to be an
interminable evening, but the connection ends there.
Why? Simply because "Being There" was a brilliant
comedy written by a craftsman with a dark vision of the
world and directed masterfully by a powerful hand.
Tarlov and Amiel, on the other hand, both share a great
admiration for Danny Kaye moves, and this influence
has left a much stronger imprint on this work. Director
Amiel says, "Comedy is very often best left to the actors
playing the scene, and I like to treat the script as a
springboard for whatever energy they can use to bring
the story to life." The proof of the pudding is in the
puddle.
Bill Murray is (how can I put this best?) Bill Murray. At
least, in the present offering, he is once again showing
his special aptitude for comedic effect and, thankfully,
not exploring his qualities as a dramatic actor (save us,
please, from such unforgettable tribulations as "The
Razor's Edge" or "Mad Dogs and Glory"), but not even
the man from Ghostbusters" or "Groundhog Day" can
solve the riddle of the man who knew too little. Joanne
Whalley looks as cute sporting her maid's apron as she
did in her uniform as Nurse Mills and I shall never
forget her in "The Singing Detective". Peter Gallagher
was clever enough to keep the one-dimensional
character of the brother limited in screen time. The
versatile Richard Wilson breezes his way through the
role of the British Sir Roger Daggenhurst and must
have laughed all the way to the bank. The same goes
for Alfred Molina as the dangerous, erratic, and funny
Russian hit man, Boris.
The title would lead one to believe that the makers wish
to create a plot line that parodies elements in
Hitchcock's oeuvre. I wonder how the master of
mystery would take this presumption. There is,
however, an early film (made on a shoestring budget)
directed by Brian De Palma titled "Greetings" which
stars Robert De Niro in his film debut, that opened in
1968 at New York's Bleecker St. Theater. It contains a
"theater-of-life" sequence dealing with racial politics
which shows a startling performance inside a
Greenwich Village building which is supposedly
enjoying favor and word-of-mouth publicity from the
elite 60's "in crowd". During the performance within the
film, some of the visitors unexpectedly get violently
attacked and raped. (Talk about realistic
performances!) As far as impact, humor, and craft go,
those few minutes of film from three decades ago
surpass any effect included in this confused and
muddled mass posing as a comedy.
© 1994-2006 The Green Hartnett
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