Tag Archives: Daryl Hannah

Memoirs of an Invisible Man (1992, John Carpenter)

Memoirs of an Invisible Man is pointless. Most of its problems stem from the film’s lack of focus–in some ways, given Chevy Chase is a stockbroker and leads a life of extreme comfort, it ought to be an examination of eighties yuppies. Only a few years late. Except it’s obvious director Carpenter doesn’t want to do that story; he’s less engaged in those scenes than any of the others.

Carpenter does surprisingly well with the romantic comedy angle. The sequence where Chase meets Daryl Hannah is beautifully shot.

The film’s also not about Chase being disconnected from the world before he becomes invisible–that aspect comes up in some terrible dialogue, very poorly presented by Sam Neill. Neill plays the film’s villain, a ruthless CIA operative who has a gang of poorly defined sidekicks and an asinine boss (Stephen Tobolowsky). If it weren’t for Tobolowsky’s terrible performance, Neill would give the worst one in the film.

A lot of Memoirs relies on Chase’s charm and, in some ways, he does deliver. Not often enough and not with enough quantity, however. The script’s really bad when it comes to defining his character; the first act is a particularly mess, then though Rosalind Chao is excellent as his secretary for two minutes.

Michael McKean plays his friend. He’s ineffectual, but not bad.

Another big problem is the narration. Memoirs is desperate for Fletch appeal; it doesn’t have it.

It moves quickly, the special effects are great, but it’s a stinker otherwise.

0/4ⓏⒺⓇⓄ

CREDITS

Directed by John Carpenter; screenplay by Robert Collector, Dana Olsen and William Goldman, based on the novel by H.F. Saint; director of photography, William A. Fraker; edited by Marion Rothman; music by Shirley Walker; production designer, Laurence G. Paull; produced by Bruce Bodner and Dan Kolsrud; released by Warner Bros.

Starring Chevy Chase (Nick Halloway), Daryl Hannah (Alice Monroe), Sam Neill (David Jenkins), Stephen Tobolowsky (Warren Singleton), Michael McKean (George Talbot), Gregory Paul Martin (Richard), Patricia Heaton (Ellen), Rosalind Chao (Cathy DiTolla), Jay Gerber (Roger Whitman) and Jim Norton (Dr. Bernard Wachs).


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THIS FILM IS ALSO DISCUSSED IN SUM UP | JOHN CARPENTER, PART 4: THE MUNDANE YEARS.

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Crazy People (1990, Tony Bill)

Crazy People is distressingly tepid. It has a number of fine performances–Dudley Moore’s sturdy and likable in the lead, Daryl Hannah’s outstanding as his love interest and the supporting cast’s so good I’m going to wait a while to talk about them to go out on an up note. But the film itself? Very tepid. Like they threw in curse words to guarantee an R rating when it really could have been PG.

Strangely enough, writer Mitch Markowitz does a great job with the swearing. He just doesn’t do enough of it.

The film concerns an institutionalized ad writer (Moore). It’s more of a retreat, really–there’s the kindly doctor (an underutilized Mercedes Ruehl) and friendly fellow patients. Moore recruits these patients to write honest (and very) funny ads.

But then Markowitz runs out of story. Sure, People only runs ninety minutes, but there are long gaps without Moore or even his fellow patients. Instead, the picture concentrates on J.T. Walsh’s odious advertising executive. Not even Paul Reiser, as Moore’s friend, sticks around for the entire runtime. And Ruehl gets an unceremonious boot.

Luckily, the actors playing the patients are outstanding. David Paymer’s probably the best, but Paul Bates and Danton Stone are both good too.

Ben Hammer’s fine as the evil doctor–People has a big problem with internal logic; an evil doctor doesn’t make a good villain.

Besides an annoying score from Cliff Eidelman, it’s technically proficient.

The parts are funnier than the final product. Much funnier.

1/4

CREDITS

Directed by Tony Bill; written by Mitch Markowitz; director of photography, Victor J. Kemper; edited by Mia Goldman; music by Cliff Eidelman; production designer, John J. Lloyd; produced by Thomas Barad; released by Paramount Pictures.

Starring Dudley Moore (Emory Leeson), Daryl Hannah (Kathy Burgess), Paul Reiser (Stephen Bachman), J.T. Walsh (Drucker), Bill Smitrovich (Bruce), Alan North (Judge), David Paymer (George), Danton Stone (Saabs), Paul Bates (Robles), Dick Cusack (Mort), Doug Yasuda (Hsu), Floyd Vivino (Eddie Aris), Mercedes Ruehl (Dr. Liz Baylor) and Ben Hammer (Dr. Koch).


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Splash (1984, Ron Howard)

Splash has a strange narrative structure. The front’s heavy, likely because the filmmakers make a real effort to establish Tom Hanks as a listless young (well, youngish) man. Of course, Hanks is a listless man with an apparently great job as a produce whole seller, an amazing Manhattan apartment and limitless funds. Then the end’s light, which is probably because Atlantis wasn’t in Splash‘s budget.

Strong writing from Lowell Ganz, Babaloo Mandel and Bruce Jay Friedman–not to mention great direction from Howard and a mostly outstanding performance from Hanks–makes the first act sail through. Some of it’s so good, it takes Splash a while to recover from not pursuing those story threads.

The film’s often a slapstick comedy, especially when it follows Eugene Levy around. He’s in pursuit of Daryl Hannah, who’s the mermaid Hanks is unknowingly dating. Well, he knows he’s dating her but not the other bit.

Hannah’s got the most important role in the film. She doesn’t just have to be the ideal combination of sexy and sweet, she’s also got to be able to pull off being a genius. Apparently mermaids are all geniuses. Mer-people. It’s never explained; Howard and company offer just enough to make it passable without raising too many questions.

Levy’s okay–his role in the script is the weakest–but John Candy’s supporting turn more than makes up for him.

Howard expertly handles the film’s various tones, with excellent photography from Donald Peterman.

Lee Holdridge’s score is nice too.

2.5/4★★½

CREDITS

Directed by Ron Howard; screenplay by Lowell Ganz, Babaloo Mandel and Bruce Jay Friedman, based on a screen story by Friedman and a story by Brian Grazer; director of photography, Donald Peterman; edited by Daniel P. Hanley and Mike Hill; music by Lee Holdridge; production designer, Jack T. Collis; produced by Grazer; released by Touchstone Films.

Starring Tom Hanks (Allen Bauer), Daryl Hannah (Madison), Eugene Levy (Walter Kornbluth), John Candy (Freddie Bauer), Dody Goodman (Mrs. Stimler), Shecky Greene (Mr. Buyrite), Richard B. Shull (Dr. Ross), Bobby Di Cicco (Jerry), Howard Morris (Dr. Zidell), Tony DiBenedetto (Tim, The Doorman), Patrick Cronin (Michaelson), Charles Walker (Michaelson’s Partner), David Knell (Claude), Jeff Doucette (Junior), Royce D. Applegate (Buckwalter), Tony Longo (Augie), Nora Denney (Ms. Stein), Charles Macaulay (The President), Ronald F. Hoiseck (Dr. Johannsen), Lou Tiano (Bartender), Joe Grifasi (Manny) and Rance Howard (McCullough).


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High Spirits (1988, Neil Jordan)

High Spirits is another fine example of how excellent production values, earnest performances and a genial air can make even the most problem riddled film enjoyable.

The studio, infamously, took Spirits away from director Jordan in the editing and the resulting version isn’t his intention. The narrative is disjointed–characters get lost, their arcs collapse, in the case of the hotel employees… they don’t even get established.

The film has an utterly wonderful comic performance from Peter O’Toole near its center. Eventually, O’Toole has to give up the spotlight to Steve Guttenberg, who isn’t nearly as funny (or as good). Guttenberg’s generally likable, thanks to having an fire-breathing dragon of a wife (Beverly D’Angelo) and a pleasant way about him. Terrible outfit though. Spirits has great photography from Alex Thomson, a nice score from George Fenton, lovely Anton Furst production design and lame eighties costuming from Emma Porteus. Why Guttenberg’s wearing a heavy wool coat around indoors half the movie is beyond me.

Jordan’s direction is decent but not exceptional. The special effects and Thomson’s photography make the film after a certain point, especially the effects.

Besides O’Toole, the best performance might be Liam Neeson’s hilarious turn as a horny ghost. As his wife–and murder victim (not to mention Guttenberg’s romantic interest)–Daryl Hannah is good. She doesn’t have a lot to do though. D’Angelo’s on the low side of mediocre.

Regardless of Jordan’s original intent, High Spirits is often rather funny and exquisitely well-made. It’s fine.

2/4★★

CREDITS

Written and directed by Neil Jordan; director of photography, Alex Thomson; edited by Michael Bradsell; music by George Fenton; production designer, Anton Furst; produced by David Saunders and Stephen Woolley; released by TriStar Pictures.

Starring Daryl Hannah (Mary Plunkett Brogan), Peter O’Toole (Peter Plunkett), Steve Guttenberg (Jack Crawford), Beverly D’Angelo (Sharon Brogan Crawford), Jennifer Tilly (Miranda), Liam Neeson (Martin Brogan), Peter Gallagher (Brother Tony), Ray McAnally (Plunkett Senior), Martin Ferrero (Malcolm), Connie Booth (Marge), Donal McCann (Eamon), Mary Coughlan (Katie) and Liz Smith (Mrs. Plunkett).


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