The Unbearable Weight of Massive Talent

This is the longest I have gone between seeing a new film in a theater and having a post for it here on the blog. You think for a guy who is retired, I’d have plenty of time for the content I post here, but my life is never as simple as I think it is going to be. For instance, on the Lambcast, of which I am the host, I had my friend and previous cohost Jay Cluitt of Deep Blue Sea: The Podcast, host in my place, because I was in California for the TCM Film Festival the weekend this opened. The podcast records on Sunday, I could not start editing it until Tuesday, and I wanted to get the post up on time, so I edited the podcast before seeing the movie myself. The guests and Jay were pretty good about not giving too much away, but I did have to hum to myself in a couple of places while still trying to make the recording presentable.

It has been a week since I saw the movie and I am happy to say that if I had been on the podcast, my reaction would have mirrored the other guests. “Massive Talent” is one of the most meta, self aware projects you can imagine, while still being sincere and a real movie. It is not all jokes about Nicholas Cage and his eccentricities, which he seems willing to acknowledge, it is also a buddy picture and an action adventure film. The action adventure part is not as effective as it could be because director, Tom Gormican, is no Michael Bay. The stunts and action remain in a lower budget range and they are a little too much by the numbers, but the relationship material sings.

Cage is terrific, playing a fictionalized version of himself and mocking some of his own predilections as an actor. His esoteric delivery style mixed with his true skill at dramatics helps keep this from flying off the rails as a simple parody film. He underplays the scenes with the Hollywood types and hams it up with the gangsters that the film has him get mixed up in. Pedro Pascal is hilarious as the super-fan Javi, a rich guy willing to go to any length to get Nic Cage to do a movie he has written out of love for the actor. Their relationship is the core of the picture and it is developed pretty well. The scenes of them bonding are well thought out, and then they are subverted by a couple of film tropes that are obvious but fun. There are a lot of chase scenes, and there are a couple of misunderstandings that could have come out of any 1970s sitcom. The most out of place but still fun example is a sequence where the pair have dropped acid and are operating a vehicle and living with a huge amount of paranoia.

The family issues that the screen writer/director and his collaborator tack on to the movie feel a bit off. They seem to miss some of the humorous elements of Cage’s real life family history and instead create a fictional conflict that is merely a convivence for the action plot that takes over in the second half. That was probably going to be necessary for Cage to sign on for in the first place, Five marriages seems like it would be fertile ground for some humor, especially the one relationship with the only child of the greatest entertainer to ever touch the stage. My guess is that Cage would be less light hearted about those issues than the professional ups and downs he has faced.

Here is a link to the Lambcast I mentioned earlier. I agree with everyone.

TCM Film Festival Day Four

 It’s always a bit sad when you reach the last day of the festival. Even though you might have a full slate of events to attend, the knowledge that it is all coming to an end sometimes hangs over you. That’s one reason to start the day off with something that you know is going to get you going on the right foot. I’d watched “Paper Moon” just a couple of months ago, when Director Peter Bogdanovich had passed away. My film salute that weekend also included “The Last Picture Show”.  It was just five years ago that he attended the festival to talk about “What’s Up Doc?”, the second of a trio of films that had made him the hottest director in Hollywood. “Paper Moon” was the third film in this string of hits and it won nine year old Tatum O’Neal the Academy Award for Best Supporting Actress.

“Paper Moon” is a terrific film that is hugely entertaining, and it had the bonus of being a film my daughter had yet to see. It is my pleasure to have introduced it to her and to say that it was her favorite film of the festival,  what a great surprise and joy. TCM Host Ben Mankiewicz interviewed Louise Stratten about Bogdanovich and his career. She was his former wife, longtime collaborator and friend to the end of his life. She is also the sister of the late Dorothy Stratten, who Bogdanovich fell in love with before she was murdered by her husband. 

She spoke very highly of Bogdanovich and is trying to carry on his legacy with some film projects. Ben had recently spent a great deal of time talking with the director for the TCM Podcast 

The Plot Thickens“. It is worth your time to listen, especially if you are a lover of older films. 

After our first film of the day, we zipped upstairs to get inline for “Fly by Night”, a comic thriller that I had never heard of before. Alas, we had a high queue number and it did not look promising for us to get in. We went over to the adjacent line to get a queue number for “High Noon” as a backup. Sure enough, with about seven people in front of us, we were informed that “Fly by Night” was full, so we zipped over and got seats in the back for the Gary Cooper Classic Western. 

So maybe it wasn’t our first choice, after all we have both seen it numerous times before, but it certainly deserves a showcase at the festival. We were Ok with the substitute and then we got something we did not expect and which was one of the highlights of the festival for us. Country Music star Marty Stuart was doing the introduction and he was fantastic. He expressed all the themes that the film was about and talked about how engaging the music was. He got so wrapped up in the energy of the tune that is the theme, he practically played it out by slapping his chest, like Matthew McConaughey in the “The Wolf of Wall Street”.
Of all the introductions of films at the festival, his was the most moving and generous and I felt really lucky to have been locked out of the other film. In addition to Mr. Stuart, we were introduced to Gary Cooper’s daughter Maria Cooper Janis who had some stories of her own to tell about the film and her father. 

We had checked out of the hotel, but our luggage was with the bell captain and the lobby was available for the festival guests, so we took a brief break for a light snack in the lobby before our final film of the weekend. Amanda’s friend Kili was meeting us for dinner at 6 pm and then taking us to her house for the evening before we got on our flight home Monday morning. 

The Academy Award winning best picture of 1973 was the ensemble comedy classic “The Sting“. This was a nice pairing with “Paper Moon” since both center on con artists during the depression era, but they are vastly different stories with divergent tones. This film was an audience favorite in 1973 and it was delighting everyone who was here to experience it in the Big House at the Chinese Theater complex. 

This is a complex story about con artists and criminals and it requires that you pay attention. There are a dozen great character actors in the film, and I can only guess that Strother Martin was not available, because director George Roy Hill used him in both “Butch and Sundance” and “Slap Shot” which he made before and after this film, and there are a couple of roles that he would have been great in. 

The discussion of the film took place after the movie and that was the first time at this year’s gathering, in which the feature preceded the discussion. The guests though were great. We got two of the surviving producers of the film, and the screenwriter of the movie. All of them won the Academy Awards for this picture. The missing producer for the film was Julia Phillips, the first woman to win an Academy Award for Producing the Best Picture winner. 

Tony Bill, David S. Ward, Michael Phillips with Ben Mankiewicz

They talked about the casting issues and adapting the book to a workable screenplay. One story that they mentioned was that Robert Shaw’s limp in the film was a result of an accident he had and instead of recasting the part, it simply became part of the character. Shaw got the part because the originally cast Richard Boone, mercurially vanished after being offered the part and no one knew how to get a hold of him. 

And so we say farewell to another TCM Film Festival. It was a blast. See you next year.