Thursday, September 8, 2022
MODEL SHOP. But it’s FIVE EASY PIECES that she’s known for which among other things plays now as one of the definitive portrayals of the onscreen Jack Nicholson persona and all the possibilities of what could really be done in a movie found in the glory days of ‘70s cinema. MAN TROUBLE doesn’t really have much to do with any of those things and even after several recent viewings part of me is still trying to clarify just what it is beyond an attempt at a light, goofy comedy that contains traces of what could be a more intricate character piece if you peer close enough, made by people who are probably more at home with much darker material. At the very least there’s a specificity to the dialogue at times that helps it seem like it’s coming from a personal place, at least on an observational level for the screenwriter, along with a certain low-concept vibe to the setup which at times approaches being charming in a zero stakes way. THE PLEDGE) have a little more edge to them, somehow preventing him from falling back on his usual tics but this film doesn’t do much to help that theory. Still, you watch him for a few isolated minutes here you might think it’s a better movie than it is, the way he always seems ready to dive in and look like a crazy person if need be with undeniable glimmers of that sharp coming timing when you least expect it. There are also such glimmers in Ellen Barkin, at her best here when she’s relaxed but at times feeling like she’s not getting the right direction. Revisiting THE BIG EASY recently was a reminder that Ellen Barkin in that film is one of the reasons the motion picture camera was invented in the first place and getting her in another romantic comedy should be flawless but the film around her doesn’t offer the support that she needs. Beverly D’Angelo, another personal favorite now and always, has moments but they seem isolated, never giving her enough of a chance to take over a scene the way her character seems to want to. Maybe the film just needed more of those moments and figure out how to use them, like the way everything stops to let Harry Dean Stanton’s lawyer played by Saul Rubinek compliment Barkin on the time her saw her perform the Battle Hymn of the Republic at the Hollywood Bowl and when he begins singing it himself it feels like the sort of effortless digression the movie could use more of. Paul Mazursky turns up too and, like a number of other actors in the film who maybe aren’t always seen at their best, at the very least it’s nice to have him around for a few minutes.