Category: Jeffrey Jones

EASY MONEY

By Marc S. Sanders

Monty Capuletti is played by Rodney Dangerfield in the comedy Easy Money. The name of the role is just there for script purposes really. This is basically just Rodney playing Rodney, and had he been in more scenes, this film would have been one of the all-time great comedies. It really would have been legendary. Unfortunately, it suffers from a side story that generates no laughs and bogs the picture down to a screeching halt.

Monty is a baby photographer, and I can’t think of a better or more appropriate occupation for Rodney Dangerfield to play for some easy, gut busting laughs. Let that sink in for a moment. Rodney Dangerfield…as a…baby photographer! I couldn’t contain myself when he was trying to get a plump toddler to sit still and finally unleashes a tirade of inappropriate expletives. Comedy works best when one party is tainted by another.

Monty drinks, smokes, gambles, overeats and often visits the local strip joints with his best pal, Nicky Cerone (a perfect partnership with Joe Pesci). His hoity mother-in-law (Geraldine Fitzgerald) has never approved of her daughter’s (Candice Azzara) marriage to this offensive slob. When mother passes away, she leaves Monty her ten-million-dollar furniture store enterprise to him, but only if he gives up on all of his habits as well as loses some weight. This is a perfect set up for a Rodney Dangerfield movie. Unfortunately, it does not go far enough with the gags.

The first thirty minutes are comedy gold as we see Monty and Nicky going from one moment of debauchery to the next. When they lose big on the horse races, I about died watching Nicky take to the field to punch out the rider. When they pick up the wedding cake for Monty’s daughter’s wedding and wedge it into the back of Nicky’s plumbing van next to the toilet, I had to pause the film to catch my breath and finish laughing. Plus, think for a moment of what’s gonna happen to that cake before the night is done. It’s more hilarious than you could possibly imagine. The first thirty minutes paint a perfect picture of Monty and his terrible ways.

When the turning point happens after Mother dies, the remaining hour only generates a handful of memorable moments. The film diverts to Jennifer Jason Leigh as Monty’s daughter who has now married a greasy gang member eager to take her virginity. She leaves the jerk on her wedding night and the film takes up too much time with the guy trying win her back. Dangerfield is not in much of this storyline, nor is Leigh. It focuses way too much on a boring performance from actor Taylor Negron as the jilted groom who is not funny in any way. As well, his selection of scenes come off unfinished at times. The groom, Julio, climbs to the outside of the second story of the house one night and falls off the pipe he’s holding on to, but you never see his reaction or where he lands. In Tom & Jerry cartoons, you were always treated to the aftermath of the fall or the big bang where little birds flew around poor Tom’s head. Did the editors just fall asleep in post?

The wedding ceremony at church and the reception in the fenced in New Jersey backyard? Now that’s funny. Really funny. Just look at the outfits for one thing. Purple tuxedos for the groomsmen. Lime green dresses for the bridesmaids and the inevitable overly, emotional, tears of joy family member who just won’t shut up. It’s a perfect tempo for laughs. I’m laughing as I recall this moment. The Italian gathering of hundreds of people dancing in a perfect overhead shot of a crammed in backyard is an absolute contrast to the elegance you’ll find in The Godfather.

Monty’s struggle with giving up on his unhealthy lifestyle is not touched upon enough and I can’t understand why. The door was wide open for these moments. Imagine Monty at an AA meeting or an Overeaters Anonymous gathering. Opportunities were missed in Easy Money. A perfect set up with not enough of an execution. I was ready to declare this film as Rodney’s best (better than Caddyshack or Back To School) but then the last hour settled in.

Easy Money is not a terrible movie. Far from it. It just could have been so much more. Watch the first thirty minutes, and then turn on Back To School to feel fulfilled.

THE HUNT FOR RED OCTOBER

By Marc S. Sanders

John McTiernan’s adaptation of Tom Clancy’s first bestselling novel, The Hunt For Red October, might seem dated but it’s still a crackling good thriller. It’s one of those films where you truly feel like you’re walking through the secretive hallways of DC government buildings with their elevators accessed only by an Admiral’s key. Soon you’re in a dark, underground boardroom. You’re also there on the various naval crafts and submarines with alarming lights, shiny steel and glowing monitors. The biggest treat is being in the command center of the titled sub, Russia’s Red October, commanded by their captain, Marko Ramius (Sean Connery). All in all, Terence Marsh built a convincing production design.

Clancy’s story takes a different approach than most thrillers involving Cold War politics. Ramius might have been a James Bond villain in another film as he hijacks Red October, but there’s more to him actually. Rather, Ramius wants to defect to the United States. Most of his command crew is in agreement as well. America doesn’t necessarily see it that way; a Russian, missile equipped submarine quickly approaching the eastern seaboard with other subs following him?!?!?!? Let’s not polish the tea set so quickly.

Fortunately, one man had the pleasure of meeting Ramius once and doing extensive research on the General’s background; Jack Ryan (appropriately cast with a young Alec Baldwin). Ryan is given three days to catch up to Ramius and guide him safely to the United States while avoiding getting the famed submarine shot down by either power nation.

I must point out my favorite scene and it actually takes place in that secret boardroom where it dawns on Ryan of Ramius’ true plan. Baldwin is great here. The young guy who is green when it comes to military and political protocol. McTiernan gets his company of generals and high ranking officials into a large quarrel over what to do and then he zooms in on Baldwin thinking for the close up before he calls Ramius a SON OF A BITCH. It’s at this moment, that the movie going consensus and fans of Clancy overall determined that Alec Baldwin was the best of the cinematic Jack Ryans. (No slight to Harrison Ford, who was too middle aged for the role when he took the part).

Connery at least has the commanding appearance of Ramius’ stellar reputation. He is not very exciting or charismatic. Then again, I don’t think Clancy built the character that way. Connery plays the role as silent, yet wise and experienced as implied by his well groomed, white beard and hairpiece plus his square stature. If this man is standing in your presence, you better give him an update. You shouldn’t have to ask if he wants one.

Good moments are made available to Scott Glenn, James Earl Jones, Sam Neill and Stellan Skaarsgard as well. It is the talking scenes among all these fabulous actors that really build tension. The underwater scenes…not so much. The subs look like long, black blobs weaving their way through depths and avoiding missiles coming their way. It’s forgivable because McTiernan always keeps the characters at play. This isn’t a film that relies on the dog fights depicted in Top Gun or Star Wars. McTiernan keeps his audience away from drowning in the underwater murkiness.

The makers of this yarn really are a great combination of imagination. We got Tom Clancy and John McTiernan to thank for a gripping tale from 1990 that still holds up today. The Hunt For Red October is definitely a film worth revisiting.

THE DEVIL’S ADVOCATE

By Marc S. Sanders

The Devil’s Advocate does not get the accolades it truly deserves, and I’ve never understood why. It is more than just a supernatural thriller or a legal drama. It’s both actually, and most films cannot lay that claim.

Director Taylor Hackford has assembled a brilliant cast that boasts a debut from Charlize Theron in the incredibly complex role of Marienne, wife to Keanu Reeves’ hot shot southern drawled, Gainesville attorney. Theron hits every pulse perfectly beginning with loose, beautiful and cocky to insecure, haunted and victimized. When I first saw the film in theatres, I left believing she’ll get an Oscar nomination. Alas, the powers that be never gave her consideration and they were wrong. Beyond a relishing Al Pacino as the lord’s most infamous fallen angel, Theron’s performance sends the script home into absolute believability. The power of Satan is executed on Marienne, and the visual and audible evidence lies in Theron’s delirious performance. She’s astonishing.

Next up, Reeves is entitled to lots of credit. The role of Kevin Lomax is his best role (Ahem…Sorry, Neo. Sorry John Wick. Sorry Johnny Utah.). He carries a disillusioned swagger that he is as good as his record of trial wins implies. Yet, is he as good as the best of the best New York City attorneys? When you are the son of Satan, maybe so. What works best though are the ongoing tests of will for Reeves’ character. His inescapable hillbilly dialect blends perfectly with a script that questions temptation against instinct, against opting for what is right. At the time of release, Keanu Reeves might have been perceived as his surfer dude Bill & Ted character not be taken seriously enough here. I never let that be an interference for me, however. Reeves doesn’t compromise and he avoids the wholesome, God-fearing kid that Kevin Lomax is meant to be. Instead, his Christian teachings seem like a nuisance for him; an obstacle to a more satisfying life regardless of sin. Reeves balances the dimensions beautifully.

Then there’s the machine behind all this. Al Pacino is John Milton, hardly disguising his true identity. He’s too proud of who he is to do that. Sure Pacino is chewing the scenery. Yet, shouldn’t he? This is Mephistopheles he’s playing here; an entity ready to undo the will of the Lord. He carries no honor for God. However, he maintains a rule book and before he accepts a disciple, he’ll make certain that it is by the follower’s choice alone. He administers the test, but he doesn’t take it. Pacino gets the best lines and the best monologues. He’s treated with an opportunity to two step along to Frank Sinatra. He’s given free reign to operate based on his legendary career. He’s my favorite devil of any and all films.

Taylor Hackford is meticulous in his direction. There’s a great moment near the beginning where Kevin is saying goodbye to his God loving and very Christian mother. He goes to her church. This is the first of many smart choices for Hackford. He does not allow Kevin to step inside the church. Rather, he paces just outside the door. Kevin does not have a relationship with God, thus opening an opportunity for Satan. Other moments are there too, such as Milton always insisting on traveling by subway…underground. Heck, there’s even a moment where a man with a box that says “Halo Industry” walks by Kevin and John; nice subtle nod. New York City is treated like a character boasting its numerous, sky-high cathedrals and angelic artwork. Pacino is the ultimate NYC resident; a creature of the concrete jungle. Hackford also recruits the notorious to boost the lair surrounding Reeves and Theron with appearances from the likes of Don King and Alphonse D’Amato. (Satan’s disciples, perhaps?)

This is one of my favorite films. It carries not one single flaw. It is richly assembled in dialogue, story, cast, set design and direction.

The Devil’s Advocate is one of those films that you want to watch over and over and delight in Pacino’s thought provoking one liners, debate with your conscience vs Satan’s own argument (he makes some good points here) and question the power of free will. It’s a fun, thinking picture.

FERRIS BUELLER’S DAY OFF

By Marc S. Sanders

I’ve said before how John Hughes had an instinct for making interesting stories out of the mundane. Sure he might broadly exaggerate, but the storylines stem from relatable anecdotes like cross country traveling, forgotten birthdays or school detention. Thankfully he also explored a day in the life of faking illness and skipping school with Ferris Bueller’s Day Off.

Matthew Broderick memorably plays the title character with an answer for everything and the means to outsmart his naive parents, his pesky sister Jeannie (Jennifer Grey), as well as the dim witted victim of staged slapstick, school principal Ed Rooney (Jeffrey Jones). Hughes teams Ferris up with his beautiful girlfriend Sloane (Mia Sara) and his troubled best friend Cameron (Alan Ruck) for a romp through downtown Chicago.

Ferris Bueller… is simply a party to watch. The tempo of its comedy thankfully gets very familiar, very quickly. There’s gag after gag to celebrate the inventiveness of Ferris. With Cameron, he manages to get Sloane out of school, alter his absent days in the school system, arrange for a high-end fancy lunch thanks to the “Sausage King of Chicago” and actually pilot Cameron’s father’s prized, rare Ferrari convertible. There’s nothing Ferris can’t do, nor won’t do. There’s nothing Ferris can’t get away with. The guy can even hop on a downtown parade float to get the entire city engaged in a rousing rendition of “Twist & Shout,” arguably one of the most fun scenes to ever be filmed. Hundreds of extras crowd the streets to remind any one of us how fun life can be. What a joyous pleasure life is.

As expected with most of Hughes’ films though, this picture has a heart. Life should always be celebrated, but that does not mean we don’t have episodes where we suffer. Alan Ruck as Cameron is not well with his home life. Parental discourse and the lack of a loving home weighs upon him. The storyline is embraced very sensitively. A touching moment occurs as Cameron tours the Art Institute of Chicago and maintains an engrossed stare with the painting called A Sunday Afternoon on the Island of La Grande Jatte. Cameron is a product of loneliness lacking the ability to cry for help unlike the child in the painting. It’s another one of those treasured moments in film where dialogue is not needed to describe a character’s pain.

Jeffrey Jones makes for a good foil in a Three Stooges style storyline as he attempts over and over again to catch Ferris in the act. It never works well for him and leads to hilarious moments with the house dog and every other unfortunate circumstance imaginable such as getting his car towed and his foot stuck in the mud. Hughes pieces these cheap gags together to make them really feel much more valuable than they should be.

Lastly, John Hughes creates good inside gags within his setting. The city of Chicago works as a character concerned with Ferris’ supposed illness, including well wishes from his classmates, to the faculty, and even the police department much to the chagrin of his sister.

Let’s just say it’s imperative we all do our part to Save Ferris!