Monday at the Movies - June 24, 2013

Welcome to another edition of “Monday at the Movies” – this week, we massage the title of this feature by profiling two HBO biopics from the past year.

Behind the Candelabra (2013) – “Too much of a good thing is wonderful,” the late Liberace was fond of saying, but the trouble with Behind the Candelabra is that there’s not enough of a good thing to be wonderful in the first place.  Ostensibly Steven Soderbergh’s last film, this biopic stars Michael Douglas as the flamboyant pianist who woos Scott Thorson (Matt Damon) in a complicated and torrid relationship not unlike the stuff of Lifetime movies.  Therein lies the problem; the story as we have it isn’t substantive enough to sustain a full two hours without feeling thin or repetitive.  As is often the case in biopics like this, Michael Douglas is note-perfect as Liberace, capturing the extravagance of the performer while layering in just enough of the creepy menace the film suggests was key to understanding Liberace (then again, when is Douglas not exceptional?).  Doing less exceptional work by virtue of being in the shadow of a great performance, Damon’s Scott Thorson is also less compelling, largely due to Damon’s failure to transcend his own ethos in the way Douglas does; moreover, Damon as Scott is petulant and largely static, equal parts the fault of the slim script and the muscled actor.  Kudos, though, to the makeup department for creating a lifelike Liberace and an uncanny doppelganger after Scott undergoes plastic surgery to look more like his lover.  Keep your eyes peeled for a gaggle of cameos – Dan Aykroyd, Rob Lowe, Paul Reiser, and an unforgettable Debbie Reynolds as Liberace’s mum – though ultimately the film is a great deal like Liberace himself:  talented, but more style than substance.

Phil Spector (2013) – Pacino, Mirren, Mamet.  Throw these three into a crazy (semi-) true story, and I’m there.  Oddly, the film begins with a disclaimer absolving itself of facticity, a bizarre technique which distances the audience until the true game reveals itself.  What David Mamet’s really after is a character study unfettered by pragmatic (and legal) concerns, profiling defense attorney Linda Kenney Baden (Helen Mirren) as she’s drawn into the entirely strange orbit of famed music producer Phil Spector (Al Pacino) when he’s accused of murder.  The film wisely avoids finger-pointing (indeed, the film leans toward but never fully endorses Spector’s innocence), and it’s to Pacino’s credit that he reins in his stereotypical “big voice” for a more subdued portrait.  The real star – and the vehicle which communicates the degree to which Spector seems wholly unhinged – is Mamet’s dialogue, as snappy as it’s ever been.  In many ways more a stage play than a fully cinematic film, Mamet’s script includes long dialogues, compelling conversation pieces where the restrained delivery allows us to appreciate the subtext; it’s especially worth rewatching the conversations between Spector and Baden, as the former reveals his madness while the latter, astoundingly, becomes convinced of his legal innocence.  Pacino pulls back, as I’ve noted, but Mirren really lets loose the full range of her craft; Baden is suffering from pneumonia during the trial and – like Cosmo Kramer’s gonorrhea – you feel it all the way in the back row.  It may not be the all-out crazy train that the actual trial was, but Mamet’s script is riveting in a slow-burn kind of way.

That does it for this week’s edition of “Monday at the Movies.” We’ll see you here next week!

The Informant! (2009)

Just when it seemed that the whistleblower biopic genre was getting a little too formulaic, in stumbles Steven Soderbergh’s The Informant! to turn the same old storyline on its ear.

Plus, how many movies can you name with an exclamation mark in the title? While newspaper editors cringe over the repeated use of that accursed punctuation mark in The Informant! let’s see if we can’t sneak a movie review past them.

Behind a hefty weight gain, a bad hairdo and an awkward mustache, Matt Damon stars as Mark Whitacre, the titular corporate snitch who finks on his agribusiness employees Archer Daniels Midland when he realizes he can’t cover up the vast price fixing in which the company is involved. Unfortunately for the FBI, Whitacre turns out to be even dumber than he looks, calling entirely too much attention to himself and unwittingly concealing key pieces of evidence.

We’ve seen Damon go undercover in Soderbergh’s “Oceans” trilogy, but Mark Whitacre is a far cry from pickpocket Linus Caldwell as far as covert operations go. Nevertheless, Damon slides into character easily, with narration and subtle facial gestures that let us know Whitacre is one of the dullest crayons in the box.

By contrast, the FBI agents in the film are sharp and quick on their feet. Scott Bakula plays senior agent Brian Shepard, slowly simmering with patient frustration at Whitacre’s dim-bulb antics. Joel McHale, recognizable to comedy fans as host of E! Network’s The Soup and star of NBC’s new comedy Community, puts in a fine turn as Agent Bob Herndon, but the film doesn’t give him much to do beyond being exasperated.

The Informant! is unquestionably Damon’s film. His is the open-mouthed mug on all the promotional material for the film, but there’s a great ensemble cast, each of whom get about five minutes to shine, mostly as lawyers. Comedian Patton Oswalt appears as a federal prosecutor, Clancy Brown (the prison guard from The Shawshank Redemption and the voice of SpongeBob’s Mr. Krabs) plays a deep-throated lawyer and Tony Hale (Buster from Arrested Development) shows up as a wide-eyed defense attorney in leagues over his head.

The beefiest supporting role comes from veteran supporting actress Melanie Lynskey, who plays Whitacre’s conflicted wife. If only she were given a little more screen time, this might be a performance to consider for Best Supporting Actress when the Oscars roll around.

That’s another thing about The Informant! Though it’s opening in limited release - a cinematic gimmick I like to call give-us-an-Oscar release - the film doesn’t seem like it’ll be up for any golden statues come early 2010. It’s not that the performances aren’t great: They’re outstanding. But the film doesn’t seem to take itself very seriously at all. Then again, Soderbergh hasn’t taken himself entirely seriously, it seems, since 2000’s Traffic.

The script, though, is solid. Adapted from Kurt Eichenwald’s nonfiction book of the same name, The Informant! is at once hilarious and heart-wrenching, enthusiastically clever and startlingly dramatic. In between side-splitting scenes of bungled espionage, the heart of the film paints a very real portrait of a man suddenly forced to live two lives, a man who isn’t even close to up to the task.

Fortunately, Damon is more than up to the task, and Soderbergh’s not afraid to tell us a story about such profound conflict. We hoot and holler at Whitacre’s mistakes (such as adjusting a concealed tape recorder during a key price fixing meeting), but we’re heart-broken by the time the film ends. You see, we want to see Whitacre become the hero he thinks he is.

But the reality is that sometimes stupid people just do stupid things. It takes a smart film to show us that, to keep us laughing while delivering a message that doesn’t feel forced. After the four-hour commercial flop Che, it’s good to see that Soderbergh is back in form.
The Informant! is rated, mundanely enough, "R for language," warning us of a few F-bombs in store.