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MARCH 2000 | VOL. 4, NO. 3 FEATURE
ALSO THIS MONTH
LAST MONTH
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TIM CLIFTON
Wonder Boys is a winning episodic film of middle-aged baby
boomer angst that expertly balances a quirky story line. Michael
Douglas (Basic Instinct, Disclosure) plays Grady Tripp, a
Pittsburgh college professor who, in the middle of a mess of a novel he
is trying to finish (2000 pages and counting) must deal with significant
life changes. He has a lot of burdens in his life. He has to watch a
wunderkind student James Leer (Tobey Maguire) carefully. Leer is a
chameleon with suicidal thoughts who constantly hides who he is, but
possesses enormous writing talent. At the same time, Douglas discovers
that his wife has left him and that he has gotten the chancellor of the
school (Frances McDormand), wife of his boss, pregnant. Finally, his
editor (Robert Downey, Jr.) is expecting a finished manuscript to
bolster his flagging career. The walls are closing in: a defining
moment in life. The story covers two pivotal days in the life of Grady Tripp and it
is a funny, poignant, and endearing ride. Wonder Boys shoots off
in unexpected directions but manages to maintain a coherent story line.
The twists are unexpected but don't come across as cruel or loopy. I
haven't seen a movie that managed to hold together such disparate plot
points as: a dead dog in the trunk of a car, shot twice in the chest;
the theft of an authentic Marilyn Monroe coat; even an out of the blue
hilarious scene where what appears to be a raving maniac jumping on
Douglas' car has a purpose in the story. Curtis Hanson's follow up effort to L.A. Confidential comes
across as an intensely personal story. In L.A. Confidential
Hanson created a near perfect period piece with detail that rang true
from the look to the dialogue. He achieves a similar effect with
Wonder Boys, using the same cinematographer on
Confidential, Dante Spinotti, creating a drab college university
town in winter where politics, egos and the latest laurels are the
yardsticks of achievement. Yet, smartly, the story avoids falling into
conventional stereotypes. The juggling of a myriad of subplots is truly amazing. This movie
easily could have been an incoherent mishmash of disconnected scenes,
but the core of Douglas' character resolving his multiple predicaments
carries it through to the end. And the humor is in small telling
moments, such as when a dog starts sniffing around the trunk of Douglas'
car, sensing the poor dead pooch inside, to a greenbean cop who forgets
to put the parking brake on his cruiser when he stops to question
Douglas.
This is one of the best cast movies in quite some time. Douglas is perfect as a rumpled sardonic professor struggling with the quiet despair of the world pressing in on him. This is easily his best pure acting role in many years. McDormand (Fargo) is also very effective as the woman he has gotten pregnant. Robert Downey, Jr., Richard Thomas, and Rip Torn play key small roles perfectly. The writing is sharp and incisive. It doesn't become a cloying showcase of the young hot buck writer and the jealous aging has-been. Steve Kloves, who wrote and directed both The Fabulous Baker Boys and Flesh and Bone has a great sense for dialogue that reveals the complexities of the characters. Wonder Boys is not a story of new beginnings so much but rather the struggle of changing your life when it is more than half over, while the previous baggage comes along for the ride. All the characters in this story struggle with disappointments and unrealized dreams. Ultimately, the message is about keeping perspective in one's life. This movie is the embodiment of the John Lennon quote: "Life is what happens to us while we're making plans." TIM CLIFTON is Renaissance Online Magazine's staff movie reviewer.
PICTURES copyright © 2000 Paramount Pictures.
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