22 August 2000

Jason Lee hits a home run of his own in the somewhat thankless role as the lead singer of Stillwater. He has that lean, cocky rock star walk and attitude. He's really grown up in this role. (By the way, I now believe that Lee would be a far superior choice for Jack Ryan, assuming from the hire of Ben Affleck that Paramount wants to go that young. He has the earnestness, even as a rock star, that is not part of Affleck's character. It's not unfair to Affleck, I think, to say that he isn't a movie star if he isn't being smart ass. That's why I object to the casting. Jack Ryan smirking seems dead wrong.) Fairuza Balk seems to have found another white trash sex queen to play and this time, she's in charge of the crew, adding a little mother earth to her repertoire. Anna Paquin sluts around in this film in a surprisingly charming fashion. Paquin, as she gets older, brings this very interesting, very nervous, sexual energy to her roles. What she really needs is a female version of Crowe, who could write her a role that would allow her to really stretch that out…she is a unique talent and I'd love to see that given voice. It was also great to see Noah Taylor at work. Nice turn as the guy trying to hold the band together, even as his loyalties are mixed.

Wait a minute! I spent all that time up top apologizing for ripping this film! What was I thinking?!!?!

Oh yeah…the third act. Almost Famous takes you on a rock tour much as it takes young William on a rock tour. Cameron Crowe is one of the few filmmakers in Hollywood who takes you on journeys that feel as though you are almost living in real time. People have the time and the inclination to act and react like normal people. There aren't many directors out there who would allow the long, long rambling of Tom Cruise in Jerry Maguire that made "You had me at hello," so much more than a gag line. People in Crowe movies pine for each other. And yet, in the third act of Almost Famous, the package gets tied up with a big red bow as though this was just another piece of Hollywood product.

I have only had the opportunity to see the movie once, so I hope that my sense of timing is dead on as I write this. But as I recall, the scene that marks the end of the second act and the start of the third is a rather remarkable moment that has Penny Lane in the hotel ballroom the morning after a Stillwater performance, refuse still on the floor, dancing in the gentle morning light that streams through the French doors to the music of the band that plays in her head. It is one of those magical movie moments. It tells you everything about the movie…the love of the life that these people are living. And suddenly, abruptly, after about 20 seconds, it is gone. On to the third act. On to the next scene. And I was so saddened. Because that magic should have lasted a painfully long 1:30 to 2:00. Why? Because it was the magic. And the audience should have had the experience that Penny was having. It starts with a "how pretty." It's quiet. And the dance, alone in the light begins. At first, you are conscious that someone might walk in and you might be a little embarrassed. You are uncomfortable. But then, no one comes. And it starts to feel right. It lifts you from within. And you are inside the quiet moment in a way that movies rarely allow you. And with that sense of magic in your pocket, you are ready for the tough third act, where dreams are on the line.

But that's just the start of the problems in the third act. After 90 minutes of intimate reality, things start happening too quickly to believe. I don't want to go into too many specifics, but editors act in ways that editors don't act, even if the result is realistic. Motivations by lead characters are simplified. Subtext gets overlooked for story reasons. And the end just isn't quite satisfying.

I referred a week ago to the big mistake DreamWorks made on this movie. It is this. Cameron Crowe was very happy with his 2 hour 40 minute version of the movie. It didn't test well. DreamWorks made him cut 38 minutes. Well, I know why the movie didn't test well. And 38 minutes isn't going to change anything but statistics. This is a movie of a particular generation. This is a movie that lovingly takes its time. This is a movie that was never, ever, going to gross $100 million domestic in its initial release…even with Brad Pitt. But it is a special, special movie. This is a movie that aspires to more in any 20 minutes than almost any film you'll see aspires to in its entire running time. Crowe weaves a thick, warm, loving comforter like no one else. The only other commercial American filmmaker who really reaches for that kind of feel is Crowe's mentor Jim Brooks, though Brooks works from the brain more than Crowe, who really lives in the heart. (If Crowe is New England Clam Chowder, Brooks is Lobster Bisque.)

The best chance for DreamWorks to make the most of Almost Famous was to position it for Oscar® . And by short-sheeting the movie in the editing room, they have probably killed off that possibility. They misread the epic nature of the piece, perhaps distracted by the intimacy. Now, I could be completely wrong. I haven't seen the 2:40 minute version. But I have a feeling that by the end of that experience, you feel a lot more like you've been on that road with William and Russell and Penny…for way too long. There is a magic to the exhaustion that you have after having been pushed too far that Almost Famous screams that it wants to give you, but never really does… because it doesn't have the time.

And so, here is how I see this picture playing out. $40 million domestic. $70 million international. Two Oscar nods - one for McDormand as Supporting Actress and one for Crowe for Best Original Screenplay. And a certain, intense group of people will love this movie in the same way that people really love Say Anything or Somewhere in Time (which just had a giant convention here in L.A.). Crowe is planning on releasing the 2 hour 40 minute version under the name Untitled. And it too will be loved. And DreamWorks will look back on the one that got away. Sure, they'll still get some Oscar nods for my buddy Rod Lurie's movie, The Contender. Maybe even some gold to take home. But I just have the feeling that Almost Famous is going to be the one movie where Walter Parkes and Terry Press will look back and wonder whether they could have maximized this one the way they've maximized the rest of the studio's line-up in 2000.

I don't think I realized how much I really love about this movie until I wrote about it. You just have to wait another few weeks.

READER OF THE DAY: Laura writes: "I'm a long time reader of this column, and preach its assets to anyone who will listen (I practically passed out your Eyes Wide Shut inside look like a Jehovah's witness)...and, since I know that you sometimes mention something and have well intentioned plans to talk about it in a later column, it doesn't always come to fruition in the detail you originally hint at.

And because of this, I am writing for the first time to beg you not to forget to write in great depth about Almost Famous on Friday. This is the movie I am looking forward to more anything else this fall...I truly believe Cameron Crowe is oft undervalued as a writer and director of quality, human, and extremely resonant material. Billy Crudup is the best actor out there today (please, let him choose some material in the '90s or present time next...this '70s stuff is getting redundant--watch his role in Bart Freundlich's next film be some weird '70s flashback or something...). The trailer is the perfect balance of humor and heart... and since I have to wait another month to see it.... the least you can do for me is tell me in depth about it, and what it meant to you....don't forget!"

E ME: In the words of Warren Beatty, I'll try to do better. (Vittorio!!! You can see a wrinkle!!!!) And look for some new news on Eyes Wide Shut tomorrow. I had an epiphany this weekend.