Tag Archives: Barry Levinson

Diner (1983, Barry Levinson)

What a difference a cast makes. Barry Levinson’s pilot for a “Diner” television series reunites some of the film crew–editor Stu Linder does a wonderful job–but the only returning actors are Paul Reiser and Jessica James. Both are good–and Alison La Placa and Mady Kaplan are great as the wives (Levinson’s best writing is for them)–but they don’t offset the new leads.

Worst is Max Cantor (in for Daniel Stern), then Michael Madsen (for Mickey Rourke) and finally Mike Binder (for Steve Guttenberg). Levinson’s script’s part of the problem. He writes Cantor and Binder’s parts for the original actors. Binder might’ve with better dialogue.

Madsen’s awful, but Levinson inexplicably writes the character as a dimwit.

James Spader’s okay (in for Kevin Bacon).

It’s interesting–especially since it’s a direct sequel to the movie–very well directed and written in parts, but the male leads sink it.

1/3Not Recommended

CREDITS

Written and directed by Barry Levinson; director of photography, Dominic Palmieri; edited by Stu Linder; produced by Mark Johnson.

Starring Paul Reiser (Modell), James Spader (Fenwick), Mike Binder (Eddie), Max Cantor (Shrevie), Michael Madsen (Boogie), Mady Kaplan (Beth), Alison La Placa (Elyse), Robert Pastorelli (Turko), Arnie Mazer (The Gripper), Ted Bafaloukos (George) and Jessica James (Eddie’s Mother).


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Unfaithfully Yours (1984, Howard Zieff)

If I’d had to guess, I’d say remaking Preston Sturges and having it work to any degree was impossible. Unfaithfully Yours proves me wrong. Instead of doing a–no pun intended–faithful remake, this version is more geared as a Dudley Moore comedy. It’s not a stretch for Moore (though he does, eventually, get to do some great physical comedy) but he’s good, even if it is the kind of role he can sleep through. The script plots out these fantastic set pieces–the last act is spectacular, even if the denouement is a disaster–but there’s great ones throughout. There’s a dueling violins scene between Moore and Armand Assante, which is probably director Howard Zieff’s high point.

Zieff’s an indistinct director, so the script is what makes Unfaithfully Yours work. The scenes between Moore and Albert Brooks–Brooks’s character in general–are great. They made me wonder why Unfaithfully Yours is either dismissed or unknown. Moore’s character being slight never really affects the film’s quality, because of the comedic payoff in the last act, but Nastassja Kinski ruins it. She’s trying to mask her native accent as an Italian one and it doesn’t work. It’s an unpleasant mix of confusing and confounding. She gives the film’s only weak performance, but since her character–married to the older Moore–has to be believable and she never manages, it’s a damning problem.

Assante’s rather good (I never thought I’d believe him as a classical violinist) and Richard Libertini’s got some hilarious moments (Libertini has no problem trading in his Massachusetts accent for an Italian one) and the whole production has a good tone. Bill Conti’s score is playful, the New York locations look great. The scenes with Albert Brooks do look, strangely, like they’re from a different movie in terms of lighting and editing, but they help carry Unfaithfully Yours to its conclusion. The first three-quarters of the film is amusing (it survives an opening 1980s voiceover) but it’s never particularly good. The script’s got strong dialogue exchanges, a few good set pieces, but it never gives away the eventual payoff.

And for someone expecting a more direct lift of the Sturges (like me), it’s a big surprise and a nice one.

It’s just a shame it all falls apart in the last scene. Unfaithfully Yours transitions, in the last few moments, from being a comedy to being a romantic comedy (pejorative intended). It makes it less successful, but it’s still a fine movie.

2/4★★

CREDITS

Directed by Howard Zieff; screenplay by Valerie Curtin, Barry Levinson and Robert Klane, based on a screenplay by Preston Sturges; director of photography, David M. Walsh; edited by Sheldon Karr; music by Bill Conti; production designer, Albert Brenner; produced by Joe Wizan and Marvin Worth; released by 20th Century Fox.

Starring Dudley Moore (Claude Eastman), Nastassja Kinski (Daniella Eastman), Armand Assante (Maxmillian Stein), Albert Brooks (Norman Robbins), Cassie Yates (Carla Robbins) and Richard Libertini (Giuseppe).


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