Tuesday, November 21, 2017

A Beatty low spot

(originally published in The Outreach Connection in May 2001)

Nowadays, if I can, I stay away from bad movies. Seems obvious, but it took me decades to attain that kind of restraint. As recently as two years ago, I fell prey to The Mod Squad. Just the merest glimmer of possible interest, just one mildly approving critical voice, one quirky scene in the trailer, and I’d be there, never having learned from my past mistakes. But I knew I’d turned a corner when I let Mission to Mars, directed by the mighty Brian de Palma, pass by unseen, yielding to the consensus of the bad reviews (despite some clear-cut dissenting opinions). True, I watched that film on cable later on, but I think it’s legitimate to apply a lower standard once you’ve paid for the TMN subscription. Ironically, I thought it was pretty good – I should probably have gone to the theater after all.


Despite this discernment, there was never any question of my staying away from Town and Country. Forget all the lousy reviews, all the gossip about how the film went over-budget and missed twelve scheduled release dates due to re-shooting and re-editing and corporate nervousness. Warren Beatty has always fascinated me, and I treat his movies – as I have Woody Allen’s for years now – as an exercise in keeping the faith.

Throughout his career, Beatty has worked at a very deliberate pace – usually taking at least a few years between movies, sometimes five or six. Sometimes, he ends the silence with a film of huge ambition, easily justifying the sense of a Kubrick-like gestation period. Reds and Bulworth were examples of this, as in a somewhat different way was Dick Tracy. And don’t forget that he’s one of the very few actors to have been nominated for an Oscar in four successive decades (Bonnie and Clyde, Heaven Can Wait, Reds, Bugsy). But equally as often, Beatty returns with films that are sappy or loose or at best blatantly minor – Ishtar, Love Affair and now Town and Country.

Those films, like Heaven Can Wait and his earlier The Fortune, were either explicit remakes of earlier movies or knowing throwbacks to earlier sub-genres. It’s as though Beatty couldn’t help following up an act of boldness or daring by regressing to the safety of the tried and true, except that he must realize his choices are so tried and true they’re verging on the decrepit. At the time of Bulworth, stories emphasized how he’d immersed himself in black culture, hanging out with a string of rap stars. Town and Country only leaves the white enclave to make dubious jokes at the expense of foreign accents: it’s filled with people Beatty’s known for twenty or thirty years, and even has a role for Charlton Heston (just as in Love Affair he cast Katharine Hepburn).

Away from the real world

Beatty must be the ultimate Hollywood establishment figure – he’s been a leading man for forty years, he’s Shirley MacLaine’s brother, he’s slept with leading actresses from just about every decade of sound cinema, except maybe the 30’s, and he work frequently plays off the fact that we know all this about him, even as he feigns reticence in interviews. He has a hesitant style, as though just feeling his way along, but he’s held his own and more with many of the leading power brokers of our time, and as recently as last year allowed speculation to swirl around the idea of his running for president. He’s known for the labyrinthine nature of his deal-making process, for always having another angle, and his career certainly supports the notion that he may frequently have been up to something we can’t quite figure out.

Town and Country is directed by Peter Chelsom rather than by Beatty himself. Beatty is claiming to be merely an actor for hire, but the movie sure doesn’t look like it, and Chelsom is keeping his distance from the press. Beatty plays a well-to-do architect, married for twenty-five years to Diane Keaton, who messes everything up by sleeping with a cellist (Nastassja Kinski), Keaton’s best friend (Goldie Hawn) and a couple of others. It’s based in the plush Manhattan of many Woody Allen movies, with frequent digressions to second or third homes – the “real world,” as we might call it, is represented by the likes of doormen and the comic foreigners I mentioned already.

The film is incoherent in the extreme, with Beatty seeming to go through the motions – there’s no sense of relish to any of his pursuits, nor to anything he does really, and it’s the same with everyone else in the movie. This might connote a theme of disillusionment – some kind of critique of the character Beatty played in Shampoo, with the excessive opulence forming a metaphorical prison. As you can see, I’m trying to be as open-minded as possible, but if the movie had any such intentions, they’re not achieved. The hiring of Chelsom, who’s mainly worked in Britain and never on anything close to this kind of scale, would only make sense if he was supposed to bring some kind of outsider’s perspective to the material, but nothing like that is evident. Instead, Chelsom fails even to punch home the (oddly) simple comic set pieces – Beatty falling off a roof, that kind of thing.

Bridget over Beatty

I didn’t laugh at all, except maybe during the sequences with Heston and his foul-mouthed wife, played by Marian Seldes. I assume the intention here was to introduce some colorful side characters, reminiscent of a Preston Sturges movie maybe. The stuff’s so dumb and silly that it acts as a respite from the pervading dullness, which is not the same as saying it’s actually any good.

The following day, I saw Bridget Jones’ Diary, which has much better writing and acting than Town and Country, and provides some genuine laughs, and overall feels quite invigorating by comparison. Right now, if you’re looking for viable adult comedy, Bridget easily wins over Beatty. But despite this mediocre experience, I’ve retained my faith. And I’m expecting to be here in 2004 or so, taken aback by his newest change of direction, and reflecting how Town and Country suddenly seems rather intriguing after all.

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