Sueleen, I would give this one a chance. I saw it tonight (against my will) and ended up enjoying it. I wasn't a fan of The Truman Show or Adaptation for the same reasons as you (and I thought they were bordering on pretentious and gimmicky) but the performances are worth watching (the leads and supporting actors were all equally wonderful although I thought Queen was wasted in an utterly thankless role) and this film doesn't seem to take itself as seriously as the other two.
I wasn't too impressed in the first third (I did think it was a one-gimmick flogged horse) but it picked up slack and the plot and characters became more compelling and I found myself invested in the outcome of the story. I could see it being nominated for Best Original Screenplay, but not Best Feature.
I am not a Will Farrell fan at all, but this movie does look pretty good. I will probably go see it this weekend.
FYI - I watched Will shooting a scene at my office building. He waved at us. Seems like a nice guy.
I have no desire whatsover to see this.
I didn't either. It's better than you think it is.
I want to make this clear to those of you who are saying you don't want to see this: THIS IS NOT A WILL FERRELL COMEDY. I can't stand him in most of his previous roles (the odd SNL sketch being the exception), but this is not a Will Ferrell movie in the same way that Good Will Hunting is not a Robin Williams movie. I'm actually going to be surprised if the film DOESN'T get a writing nomination - the movie is a DREAM for English teachers/literature lovers/writers of all sorts.
Addressing the Queen Latifah issue - yes, SHE was underused, but her character was essential. The movie was partly about the writing process. QL's role was to force the writing while Thompson struggled creatively -- good writing doesn't get forced or put on a time schedule. That pressure from QL in a way helped me sympathize with Emma Thompson because I know what that pressure is like. Trying to write something creative, something meaningful, something beautiful CAN'T happen with that pressure. However, in publishing, the truth of the matter is that's EXACTLY what writers deal with. I don't know if there are people whose actual job it is to do what QL did here, but the principle CERTAINLY is true.
The one problem I had with the movie (that I just let go through suspension of disbelief) was that if Thompson was writing the novel the whole time, shouldn't she be aware of the fact that Ferrell was going to Dustin Hoffman for help? It's almost like two stories were being told at the same time, but there was no distinguishing line between them. So the screenplay wasn't flawless, but there's enough juicy writer/literature references and ideas in there to keep anyone interested in either glued to the screen. This is a MUCH smarter movie then I think the marketing campaign is allowing for (not that I blame them).
I'm not saying that QL's charcter isn't essential - she is for the reasons you said. But the point is that while the character's presence is necessary, there isn't much material for QL to work with acting-wise, and that's where my problem lies.
I had the same issue as you re: Eiffel's lack of narration for some of Harold's going-ons but what I figured was that for Eiffel, she only writes (and thus knows) the part of the story that leads up to and includes Harold's self-growth (i.e. the routine of his teeth-brushing, the equations in his head, his relationship with Ana). When he strays from that story, he's on his own. (i.e. the stop/start narration when he first hears the voice while brushing his teeth, his conversations with Dustin Hoffman's character.)
I agree with you on Queen Latifah's role - really anyone could have played the part.
You're right about Eiffel's role in the writing as well. Of course that creates a paradox then - if Harold can deviate from the story to pursue Hoffman's character etc, then shouldn't he be able to deviate to escape his death sentence?
That said, I LOVED the way the movie wrapped up the ending. For what the movie was, the ending was perfect.
You're right about Eiffel's role in the writing as well. Of course that creates a paradox then - if Harold can deviate from the story to pursue Hoffman's character etc, then shouldn't he be able to deviate to escape his death sentence?
EXACTLY! I was debating that mentally. If Eiffel's narration stops when he stop going along with her story, couldn't that mean that if he left Ana and went back to his job, he could live?
That said, I'm still trying to decide whether I liked the ending. Without giving anything away (I hope), do you think a death in this story would be more poetic and effective than if he lives? I couldn't help but think of the "Should Mimi have died?" debates.
HAHA - that's funny Tiff - Caitie and I were talking about EXACTLY that on the way back after the movie!
I'm just going to put up a big ol' warning here:
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The obvious correct ending was Harold dying. Hoffman's character said it - that ending made the novel a masterpiece because of the irony (it'll f*** you ever time -- best line in the movie). His living was CLEARLY a compromise since she couldn't bare to kill him because he was real (I read it as a metaphor for authors who see their characters as being real - just taken literally). She punched the ending up stylistically (loved the doctor's lines about the watch) so the irony was still there, but the twist turned the ending into a "comedy" rather than a "tragedy."
I did love the last line of the film - poetic, ironic and touching!
I agree, Tiff. I think by acknowledging the potential issue the way they did totally justified (not really "justified" but you know get what I mean) the route they went with the ending.
I found it a wonderful tribute to Pirandello. I had no difficulty w his "deviations" from the novels writing. It's just his "off stage" action- since it is not germain to the action she is pushing forward (remember we don't hear any narration about the other two key figures in "her" story- the bus driver and the boy)he has his "free will" in these moments. I seem to remember something in Pirandello about the more fully created a character is the more he achieves "real" existance. So. how much of a debt does a writer owe his characters? Is a work of fiction no matter how lovely worth even one mundane human life?
Really good film. Agree w the screenplay nom and actually think Farrell MAY get a nom- depending on how much promotion the studio/distributor decides to go for.
Saw this last night and thought it was smart, and funny, and much more original than anything I've seen in a while. I'd highly recommend it.
As far as Eiffel not knowing he was going to the professor, that didn't bother me. Harold explained that there were times the narrating stopped and felt that was when "other parts of the story" that didn't involve him were happening. I'm thinking that's when she was writing about the bus driver and the little boy, or when she wasn't writing at all. So, he had free will during those parts of "the story" but ultimately, Karen Eiffel determined his fate.
In a way, it reminded me of the Jasper FForde books, where Tuesday Next goes to live in inside the books. The characters had to be "on call" for their section of the story, but had the ability to do other things and create their own lives in their "down time".
(And was it just me, or does Will Ferrell look like he's had some work done around the eyes.......)
I saw it this weekend and really enjoyed it. The acting was superb all around. I am a Will Ferrel fan and I loved him taking a risk on this role. Dustin Hoffman was funny and sweet.
And a special acknowledgement to the hysterical Tom Hulce cameo. I've loved him for 20 years and it was such a pleasant surprise to see him. And I had no idea Krisin Chenoweth made a cameo... She always brings a smile to my face.
I forgot to post about this! I saw it last Sunday and adored it. The beginning was a little slow and gimmicky, but after that, I found myself almost in tears by the end. Not only was it clever and funny, it was also extremely touchiing and, as a writer, made me completely reevaluate my writing process. Ferrell, who I usually find obnoxious, did a fantastic job, as did all of the actors. And, scarily enough, for a moment there I did find Will Ferrell to be a little hot.
xxnewgirlxx -- where was Tom Hulce in it? I missed him!!
Tom Hulce was the IRS-assigned therapist Harold was sent to towards the beginning of the film...with the clouds painted on his office walls...
He looks A LOT different from his Amadeus/Parenthood days.
Thank you! I knew I recognized the doctor, but couldn't place him. And honestly, my mind didn't even go to Tom Hulce.
Broadway Legend Joined: 3/4/04
I finally caught this today, and it was sweet and a lot more low-key than the promos would indicate. I got the feeling that the Emma Thompson/Queen Latifah storyline was longer or more developed at some point, but got cut down for length purposes. But Thompson managed to take what she got and really make something of it- by the end she was completely compelling.
Oh, and those other people were good, too. :P
I just realized it's Will Ferrell and not Colin Farrell.
Really no reason to see the movie now.
I'm with you SM2. Colin I'd see in anything...
Just saw this today. Absolutely fantastic. I wish I could remember all of Emma's closing speech, because I loved it. I enjoyed this movie WAY more than I was expecting to. I actually cried a couple times towards the end.
Those who are saying they're not interested because of Will Ferrell, see it. Yes, Will Ferrell is in the film, but he's not "Will Ferrell" this time. He's actually being an actor. It's like comparing Jim Carrey's usual work to Eternal Sunshine.
Broadway Legend Joined: 6/30/05
I finally saw this. Completely loved it. I can definitely see this going on Criterion in a few years.
It was incredible.
An extremely surprising and emotional movie. I loved it.
One of the best movies I have seen in a long time.
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