Reviewed by Eugene Novikov
http://www.ultimate-movie.com/
Member: Online Film Critics Society
Starring Adrian Brody, Ben Foster,
Mantegna, Rebekah Johnson, David Krumholtz. Richard Klein, Justin
Chambers, Charley Scalies. Rated R.
Aside from making occasionally intelligent crowd-pleasers such as
Sphere, Wag the Dog and Rain Man, Barry Levinson also directed four
lesser-known films known as his "Baltimore movies," all of them
focusing on the life of Jewish people in 50s Baltimore. Those films --
Diner, Tin Men, Avalon and now
with critical plaudits but little in terms of box-office; what allowed
Levinson to keep making them was his respected
sure he called on some favors to get some of these movies financed. But
while the 3rd film, Avalon, was clearly not a populist movie, the
influence of the profit-minded studios has taken its toll on
the lowest common denominator.
Despite a colorful assortment of supporting characters, the film's main
focus is Ben and Van Kurtzman (Ben Foster and Adrian Brody,
respectively), two Jewish teens struggling with the prejudices that
plague
going to non-Jewish parties where they are not welcome, doing
everything they can not to reveal their nationality. The prejudices
against them have made their parents prejudiced; when Ben says that he
finds a "colored" girl attractive, his mom (Bebe Neuwirth)
exclaims "Just kill me now!"
Ben does indeed develop a relationship with a colored girl and Van
falls hard for a gorgeous, Cinderella-white Christian girl, who also
happens to be going out with a (thankfully) benevolent Christian guy
(Justin Chambers) who decides to help Van out. Meanwhile Ben and Van's
father, who run an illegal gambling operation, get into money trouble
with small-time drug dealer Little Melvin, who might just go on the
offensive against the Kurtzman family should he not get his money on
time.
There is a riotous scene in the beginning of the movie where Ben
decides to dress like Hitler for Halloween. His mom flips and calls his
father, who adamantly tells her that Ben shall not go out like that,
and asks to "speak to the Fuhrer." Ben's mom gives him the phone and he
begins with a distinctive "Jaaaaaaaa?" Well, you had to be there. The
scene is hilarious, and I was only hoping the film would continue with
that sort of witty, intelligent humor, but no such luck: it soon
deteriorates into potty jokes American Pie style, obviously inserted to
attract the young crowd that may not otherwise be interested in a movie
about race relations 45 years ago.
Beyond the often immature facade is hidden a touching, good-hearted
movie about growing up, being different and having a cosmopolitan
attitude towards people. It ain't deep stuff, but it's heartfelt,
sincere and, despite the touchy subject matter, often sweet. It's about
the people more than it's about the situations they're in; we're
supposed to watch the characters' reactions rather than analyze their
surroundings.
The performances are solid across the board; no Oscar contenders here,
but some enjoyable turns from some good actors. Joe Mantegna is
typically good as Ben and Van's troubled father. He isn't as lively,
perhaps, as he is in some of his other performances, but then again
he's hardly supposed to be. Adrian Brody probably isn't the best actor
for his role -- I'd kill to see, say, David Krumholtz (who plays
Brody's clutzy friend) take the part instead. The highlight of the
performances is relative newcomer Ben Foster, who bites into his role
with humorous, irreverent gusto (I love that word!).
I enjoyed the movie, dirty jokes and all, though I couldn't help
thinking that, in this case, less is more. Levinson has the basic idea,
now he has to parrot down: cut the potty humor, add more genuine wit
and tell the studio executives insisting on material that would entice
teens to go screw themselves.
Grade: B
©1999 Eugene Novikov
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