Carrey on gayer sum
By John Esther
Repeatedly and ridiculously delayed since its successful premiere at Sundance Film Festival 2009, I Love You Phillip Morris finally arrives in theaters this Friday. Given its subject matter and matter of subject one may speculate why this funny, intelligent and consistent film co-written and directed by John Requa and Glenn Ficarra (co-screenwriters of Bad Santa) has been postponed for nearly two years.
In his best performance hitherto, Jim Carrey plays Steven Russell, a brilliant real life con artist who was able to fake friend and foe alike to such a degree that "fucking Texas" made sure he received an unprecedented 144-year prison sentence. (What no death penalty?)
Life for Russell all starts innocently enough. He is a happily married husband and father, working for the local police force and playing organ in the local church. (The instrument.) He is living the American Dream, so they show, but after a blow to his sense of identity back when he was a 9-years-old (John Kennon Kepper) followed by one to his car as an adult resulting in an epiphany, Russell decides to come straight out of the closet and take the elevator non-straight up to the top of the penthouse, bamboozling everyone he comes across along the way. After all, when you live in a country, as well as in a particular subculture of a subculture (i.e. Noah's Arc; A-List: New York; An Ordinary Couple), where materialistic extravagance is a dominant virtue, a bad boy who happens to prefer boys has got to do what he has got to do in order to lavish his loved ones.
Russell may be a great conniver, but he is not invincible. His wild schemes eventually take him to prison. There he meets Phillip Morris (Ewan McGregor) a gentle, young man who has an unfortunate penchant for linking up with bad people, but not the kind of ruthless ones his namesake would suggest -- he has nothing to do with the tobacco behemoth. (Besides Morris' aggressive fellatio, there are no "smoking a fag" metaphors here). During their incarceration rowdy Russell and mild mannered Morris quickly fall in love, planning to set up home once they are both released...from prison.
As fine as their new life together may be, Russell is never content. He wants to live high on the "gay hog" and he is going to stick it to the ignorant and racist/anti-Semitic pigs at his latest job -- taking down Morris in the process. A natural risk taker, Russell's business schemes become more and more elaborate yet prove to be quite conventional in comparison to what he concocts when Morris and he is, again, incarcerated. Hilariously daring to do anything for freedom and love, one would not believe the things Russell accomplished were they not a matter of record.
Stranger danger than fiction, I Love You Phillip Morris has all the makings to be one of the year's most successful, certainly enjoyable, films. Possessing a strong cast, smart script, and outrageous humor/history, there is very little to dislike about the film. Although I did find the film funnier the first time I saw it at Sundance, it is still one of the funniest of 2010. Amongst films released this year, perhaps only Four Lions is funnier than I Love You Phillip Morris?
So what is with the theatrical release holdup? The film has already opened theatrically across Europe, Asia, South America and Mexico. Are there some handlers out there who feel the mainstream Jim Carrey fan may not accept Russell's sexual orientation? An actor who can green light just about any film of his choosing, Carrey takes an admirable career risk with the Russell role. Possibly even a greater risk than other A-list actors who have played complex "non-flamboyant" gay characters in the past.
As sort of a bourgeois anti-hero incarnation of a gay anti-hero a la writer Jean Genet (Our Lady of the Flowers; Querelle) or filmmaker Rainer Werner Fassbinder (In a Year of 13 Moons; Querelle), Carrey as Russell does not have the sympathetic character advantage of slowly dying yet fighting for justice as Tom Hanks did when he took on what would be the Academy-Award winning role of a dying-AIDS patient named Andrew Beckett in director Jonathan Demme's Philadelphia (1993) or Hilary Swank did when she took on what would be the Academy-Award winning role of Teena Brandon/Brandon Teena, a real-life person murdered by homophobes for her man-hoodwink-ing in director Kimberly Peirce's Boy's Don't Cry (1999) or Heath Ledger and Jake Gyllenhall for their eventual Academy-nominated roles as fictional star-crossed lovers in director Ang Lee's Brokeback Mountain (2005) or Sean Penn did when he agreed to play the eventually Academy-Award winning role of assassinated gay rights politician Harvey Milk in director Gus Van Sant's 2008 film, Milk. (Granted, Swank was not A-List when she took her role, but her character was extremely sympathetic yet there was certainly a career risk.)
On another hand, Russell does have that American gumption many Amer-I-cans sure like to swill. He sees what he wants and he takes it -- all in the so-called name of love. And, considering the current climate, we may indeed be at a crossroads where massive audiences can watch a film with a major star playing a gay protagonist who is not a victim -- in particular, a victim of violence -- and see his humanity more than his or her homosexuality.
Yet what distinguishes I Love You Phillip Morris from the aforementioned films, plus other American films not mentioned here, is that the other films came with an expectation, which is usually fulfilled, of "art house" gravitas (like this year's enjoyable The Kids Are All Right and outstanding Howl) whereas a film starring Carrey comes with the expectation of a physical comedy -- a brand of entertainment infrequently demanding any discomfort whatsoever from its audience these days. In I Love You Phillip Morris Carrey relishes in the role. While incorporating his familiar comical shtick, Carrey takes this role further by not only refusing to hold back on the film's more human complexities, he is also unflinching when it comes to its homoeroticism (the latter being something the misdirected Philadelphia dodged). Often an exacerbating performer to watch -- such as last year's awful adaptation of Charles Dicken's A Christmas Carol wherein Carrey played multiple roles -- here Carrey dives deep down to get at the heart and mind of what motivates Russell and it pays off.
(During the post-Sundance screening someone in the audience asked the filmmakers, "Why didn't you get gay actors to play the leads?" Without missing a beat, Carrey replied, "What makes you think we didn't?" Nice.)
With a better chance of receiving award nominations this year and the country incrementally becoming nonchalant about homosexuality, perhaps the delay of I Love You Phillip Morris has been good fortune for the film. The film is very entertaining and Carrey's performance is certainly one of the better ones of the year. Award consideration for McGregor, Xavier Pérez Grobet's playful cinematography as well as the Requa and Ficarra's direction and screenplay, are nothing to eschew either. (Oh, come on, cinematography consideration for a comedy? Yes.) But more important than the potential denial of any forthcoming award nominations, it would be a shame to see a film of this caliber rejected, or delayed anymore, including the eyes and minds of some Carrey fans, for the wrong reasons.
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| Steven Russell (Jim Carrey) in I Love You Phillip Morris. |
By John Esther
Repeatedly and ridiculously delayed since its successful premiere at Sundance Film Festival 2009, I Love You Phillip Morris finally arrives in theaters this Friday. Given its subject matter and matter of subject one may speculate why this funny, intelligent and consistent film co-written and directed by John Requa and Glenn Ficarra (co-screenwriters of Bad Santa) has been postponed for nearly two years.
In his best performance hitherto, Jim Carrey plays Steven Russell, a brilliant real life con artist who was able to fake friend and foe alike to such a degree that "fucking Texas" made sure he received an unprecedented 144-year prison sentence. (What no death penalty?)
Life for Russell all starts innocently enough. He is a happily married husband and father, working for the local police force and playing organ in the local church. (The instrument.) He is living the American Dream, so they show, but after a blow to his sense of identity back when he was a 9-years-old (John Kennon Kepper) followed by one to his car as an adult resulting in an epiphany, Russell decides to come straight out of the closet and take the elevator non-straight up to the top of the penthouse, bamboozling everyone he comes across along the way. After all, when you live in a country, as well as in a particular subculture of a subculture (i.e. Noah's Arc; A-List: New York; An Ordinary Couple), where materialistic extravagance is a dominant virtue, a bad boy who happens to prefer boys has got to do what he has got to do in order to lavish his loved ones.
Russell may be a great conniver, but he is not invincible. His wild schemes eventually take him to prison. There he meets Phillip Morris (Ewan McGregor) a gentle, young man who has an unfortunate penchant for linking up with bad people, but not the kind of ruthless ones his namesake would suggest -- he has nothing to do with the tobacco behemoth. (Besides Morris' aggressive fellatio, there are no "smoking a fag" metaphors here). During their incarceration rowdy Russell and mild mannered Morris quickly fall in love, planning to set up home once they are both released...from prison.
As fine as their new life together may be, Russell is never content. He wants to live high on the "gay hog" and he is going to stick it to the ignorant and racist/anti-Semitic pigs at his latest job -- taking down Morris in the process. A natural risk taker, Russell's business schemes become more and more elaborate yet prove to be quite conventional in comparison to what he concocts when Morris and he is, again, incarcerated. Hilariously daring to do anything for freedom and love, one would not believe the things Russell accomplished were they not a matter of record.
Stranger danger than fiction, I Love You Phillip Morris has all the makings to be one of the year's most successful, certainly enjoyable, films. Possessing a strong cast, smart script, and outrageous humor/history, there is very little to dislike about the film. Although I did find the film funnier the first time I saw it at Sundance, it is still one of the funniest of 2010. Amongst films released this year, perhaps only Four Lions is funnier than I Love You Phillip Morris?
So what is with the theatrical release holdup? The film has already opened theatrically across Europe, Asia, South America and Mexico. Are there some handlers out there who feel the mainstream Jim Carrey fan may not accept Russell's sexual orientation? An actor who can green light just about any film of his choosing, Carrey takes an admirable career risk with the Russell role. Possibly even a greater risk than other A-list actors who have played complex "non-flamboyant" gay characters in the past.
As sort of a bourgeois anti-hero incarnation of a gay anti-hero a la writer Jean Genet (Our Lady of the Flowers; Querelle) or filmmaker Rainer Werner Fassbinder (In a Year of 13 Moons; Querelle), Carrey as Russell does not have the sympathetic character advantage of slowly dying yet fighting for justice as Tom Hanks did when he took on what would be the Academy-Award winning role of a dying-AIDS patient named Andrew Beckett in director Jonathan Demme's Philadelphia (1993) or Hilary Swank did when she took on what would be the Academy-Award winning role of Teena Brandon/Brandon Teena, a real-life person murdered by homophobes for her man-hoodwink-ing in director Kimberly Peirce's Boy's Don't Cry (1999) or Heath Ledger and Jake Gyllenhall for their eventual Academy-nominated roles as fictional star-crossed lovers in director Ang Lee's Brokeback Mountain (2005) or Sean Penn did when he agreed to play the eventually Academy-Award winning role of assassinated gay rights politician Harvey Milk in director Gus Van Sant's 2008 film, Milk. (Granted, Swank was not A-List when she took her role, but her character was extremely sympathetic yet there was certainly a career risk.)
On another hand, Russell does have that American gumption many Amer-I-cans sure like to swill. He sees what he wants and he takes it -- all in the so-called name of love. And, considering the current climate, we may indeed be at a crossroads where massive audiences can watch a film with a major star playing a gay protagonist who is not a victim -- in particular, a victim of violence -- and see his humanity more than his or her homosexuality.
Yet what distinguishes I Love You Phillip Morris from the aforementioned films, plus other American films not mentioned here, is that the other films came with an expectation, which is usually fulfilled, of "art house" gravitas (like this year's enjoyable The Kids Are All Right and outstanding Howl) whereas a film starring Carrey comes with the expectation of a physical comedy -- a brand of entertainment infrequently demanding any discomfort whatsoever from its audience these days. In I Love You Phillip Morris Carrey relishes in the role. While incorporating his familiar comical shtick, Carrey takes this role further by not only refusing to hold back on the film's more human complexities, he is also unflinching when it comes to its homoeroticism (the latter being something the misdirected Philadelphia dodged). Often an exacerbating performer to watch -- such as last year's awful adaptation of Charles Dicken's A Christmas Carol wherein Carrey played multiple roles -- here Carrey dives deep down to get at the heart and mind of what motivates Russell and it pays off.
(During the post-Sundance screening someone in the audience asked the filmmakers, "Why didn't you get gay actors to play the leads?" Without missing a beat, Carrey replied, "What makes you think we didn't?" Nice.)
With a better chance of receiving award nominations this year and the country incrementally becoming nonchalant about homosexuality, perhaps the delay of I Love You Phillip Morris has been good fortune for the film. The film is very entertaining and Carrey's performance is certainly one of the better ones of the year. Award consideration for McGregor, Xavier Pérez Grobet's playful cinematography as well as the Requa and Ficarra's direction and screenplay, are nothing to eschew either. (Oh, come on, cinematography consideration for a comedy? Yes.) But more important than the potential denial of any forthcoming award nominations, it would be a shame to see a film of this caliber rejected, or delayed anymore, including the eyes and minds of some Carrey fans, for the wrong reasons.
