her way through “Be Italian.” The less said about Judi Dench (his wardrobe designer) and Marion Cotillard’s (his wife) musical scenes, the better.
Day-Lewis is no singer, but his mere presence grounds the film. He doesn’t overplay Contini’s angst and serves as a solid, reflective center around which this musical phantasm revolves. He’s always interesting to watch and he makes his character’s descent into depression intriguing and heartbreaking, almost salvaging the film.
The movie’s last shot is my favorite finale of any film this year. All of Contini’s ghosts come back to watch over his return to cinema and there’s a sense the director will use his experience with them as inspiration rather than a source of torment. It’s a brilliant moment containing the sort of inspiration that the rest of the film lacks. The scene underscores that Marshall’s take on Nine is a missed opportunity.
Morgans hardly worth hearing about
Could Cary Grant and Irene Dunne have salvaged Marc Lawrence’s Did You Hear About the Morgans? Doubtful, but it would have been fun to see them try, as it’s obvious the writer-director was aiming for the sort of screwball comedy these stars from yesteryear seemed to toss off with ease. Lawrence has successfully navigated this territory before with Two Weeks Notice and Music and Lyrics, but the third time is not charming. This film is nothing more than a collection of clichés with each situation and character taken from other better movies.
Hugh Grant and Sarah Jessica Parker do their level best to bring this dog to life. While both are capable performers, their combined charm is no match for this dead script. As Paul and Meryl Morgan, two New Yorkers whose marriage has hit a rough patch, the two performers seem a perfect match. Yet, there’s no zing between them when they start hurling barbs at one another. Grant, perhaps the best light comedic actor of his generation, has the thankless task of delivering Lawrence’s oneliners and pausing for a laugh he knows won’t materialize.
Just as you can tell when a performer is having fun, you can also tell when they know they’ve entered into a project that will have them questioning whether they should get a new agent. It’s obvious the two leads realize the material’s not up to snuff, especially when we see them struggle with the fish-out-ofwater shenanigans Lawrence cooks up for them once Paul and Meryl end up in Wyoming after they enter a witness protection program. They deal with grizzly bears, rodeo bulls and, worst of all, narrow-minded Republicans. After grappling with all of this adversity, I wonder if the Morgans will get back together? If they hadn’t it would have been the only surprise in the script.
Sam Elliott and Mary Steenburgen add a bit of local color as the married sheriff and deputy sworn to protect them, but they aren’t given enough to do. Wilford Brimley adds yet another crusty old codger role to his resume. Grant and Parker are left to tote the water and it’s a losing cause. There’s no life to be found in Lawrence’s holey script and that’s the awful truth.
Contact Chuck Koplinski at [email protected].
