Blu-ray Review: The Birdcage (1996)

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Blu-ray Introduction:

"I feel like I’m insane!" Gene Hackman’s conservative senator exclaims mere moments after he had been so fooled by Nathan Lane’s drag masquerade as an old-fashioned housewife (while pretending to be the prospective mother-in-law of Hackman’s daughter played by Calista Flockhart), that the senator had raved, "they don’t make women like that anymore."

And although he’s in a state of shock because he’d been hoodwinked as a straight man, one of the most endearing aspects about The Birdcage is how well the filmmakers and actors worked together to establish characters that we instantly understand even without language.

For example, in an earlier act when Lane enters the frame wearing a suit – initially ready to play the part of "the uncle" of the biological son (Dan Futterman) of his partner (Robin Williams) whom he'd raised his whole life – we can feel the heartbreak, tension and dismay practically waft from the screen directly into our living room.

A film about being true to who you are and the true (and evolving) definition of family, while The Birdcage may have been behind in the times with regard to gay stereotypes, it was ahead of its time in foreshadowing the progress this country has made in the fight for equal rights.

Nearly twenty years ago when the MGM/Fox film was released, a modern family that’s accepted on the same level as the one on Fox’s contemporary ABC sitcom Modern Family was just a hopeful fairytale that gay parents would’ve undoubtedly raised their child on, telling him tales of future acceptance to ensure sweet dreams at bedtime.

Roughly twenty years later, that dream has become a pop culture reality even if the U.S. is still slow to grant gay couples the equal rights they deserve in life.

And while yes, it’s slightly dated, it’s also anachronistic given its forward thinking approach as we watch the gay leads plan for their future together (signing palimony papers and discussing joint burial plots) and marvel at the realization that the 1996 blockbuster is in all actuality a remake of a foreign film that had been released nearly twenty years before that. Thus The Birdcage is part of a much larger conversation that's been going on for over forty years on screens both big and small.

Optically The Birdcage has always been bombastic and bright as noteworthy cinematography and an emphasis on visual storytelling has been a trademark of director Mike Nichols since the beginning of his auspicious career, as evidenced in Who’s Afraid of Virginia Woolf? and The Graduate in particular.

But now that the film has been transferred to stiletto-sharp Blu-ray high definition, the vibrant world of not only Miami but also the dream factory of the "fairy dust, fairy dust, fairy dust" and "Fosse, Fosse, Fosse" filled club the men run below their South Beach apartment comes wondrously alive.

Not only can you see each and every sequin, seam, and false eyelash but you can practically feel the texture of the fabric of The Birdcage’s costumes, with which the onscreen actors and offscreen filmmakers (including future helmer Rodrigo Garcia who worked on the film as a camera operator) brought so delightfully to life.

And while it might threaten to drive a straight-laced, right-wing senator crazy, it’s exactly the thing to drive a mainstream audience into crazy fits of laughter with enough empathy and open-mindedness to help ensure that a prejudicial society (rather than its characters) are the recurring punchline.

Original Review:

(Published 6/22/10)

Mike Nichols’s old comedy partner Elaine May adapted this wildly raucous remake of the ’78 foreign film La Cage Aux Folles that managed to remain both true to the plot and even a majority of the dialogue of the original work but ensure that leads Robin Williams and Nathan Lane would have plenty of room to improvise.

Despite its tremendous box office returns, upon its release reaction to the work was somewhat divided. Namely, half of the audience seemed unable to look past the stereotype embodied particularly by Lane as Albert, the partner of Williams’ Armand who also works as the headliner at their Miami South Beach drag club.

Meanwhile the other half of the audience was extremely impressed by the way the actors transcends the stereotype to truly get straight audiences to look past orientation and empathize with the couple when Armand’s son begs them to play straight for his fiance’s extremely conservative parents (Gene Hackman and Dianne Weist).

While I can see both sides of the argument, I tend to lean towards the latter reaction as Nichols’ film marks the first gay-themed film that I ventured to the theatre to see growing up as a straight, suburban teen.

The fact that I wasn’t alone in the audience as a heterosexual fully involved in the plight of the characters to me makes the film a resounding success in subtly getting the message out about tolerance, acceptance and respecting everyone’s rights to live as equals.

Yet by adding in a spoonful of sugar, the filmmakers manage to consistently leave viewers in hysterics – smiling and laughing at something we may not have otherwise experienced while opening our eyes to other points-of-view.

With a far superior third act to the original film that works better on both a comedic level with Lane managing to win over a clueless Hackman as the son’s old-fashioned homemaker "mother" and likewise winning back our respect for their selfish son with some tender declarations, The Birdcage remains one of Williams’ most triumphant comedies in a decade that also scored the actor a hit in another drag related comedy, Mrs. Doubtfire.

Text ©2014, Film Intuition, LLC; All Rights Reserved. http://www.filmintuition.com Unauthorized Reproduction or Publication Elsewhere is Strictly Prohibited and in violation of the Digital Millennium Copyright Act.  FTC Disclosure: Per standard professional practice, I may have received a review copy of this title in order to evaluate it for my readers, which had no impact whatsoever on whether or not it received a favorable or unfavorable critique.

DVD Review: The Cinema Pride Collection

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The Children’s Hour (1961)

With the censoring Hays Code no longer in effect, director William Wyler remade his own 1936 film These Three, which was based on Lillian Hellman’s critically acclaimed stage play about two schoolteachers whose life, work and status in the community is ruined when a young bullying student outs the women as lesbians by spreading cruel lies comprised of exaggerating snippets of conversations she and other students overheard.

While the ’36 version changed the plot drastically to a heterosexual affair that divides the women’s friendship, in this adaptation by screenwriter John Michael Hayes, Hellman’s original source material (inspired by a real life story about two Scottish teachers) was translated in an extremely faithful and still devastatingly intense work.

And directing the woman he helped introduce to the world – Audrey Hepburn – in a role unlike any she’d previously tackled makes The Children’s Hour quite the conversation starter. However, Hepburn’s co-star Shirley MacLaine admits that the two women never did discuss the real nature of their characters’ relationship and instead played it straight from the page since the topic was still scandalous onscreen for the time. Nonetheless The Children’s Hour, which also features a top notch supporting turn by James Garner in his first role since suing Warner Brothers to be released from his Maverick contract, remains just as haunting as it always did nearly fifty years after its release.

La Cage Aux Folles (1978)

Whereas it took The Children’s Hour decades to be filmed in a way that closely matched the original play, 1978’s La Cage Aux Folles only took five years since its stage debut to become an international box office film sensation.

The Italian and French production maintained the best of both countries in terms of cinema with the brilliant employment of Italian composer Ennio Morricone to complete a memorable film score for the piece to augment its naturally funny set-up as a pitch-perfect French comedic character driven work, co-written by Francis Veber who has since become synonymous with the country’s film industry comedy scene.

In the film, after long-term gay couple Renato (Ugo Tognazzi) and Albin (Michel Serrault) discover that Renato’s beloved twenty-year straight son (Remi Laurent) is getting married to a girl with ultra conservative parents, the two theatrical entertainers undergo the challenge of a lifetime. Forced to play it straight, the couple winds up hosting a family dinner for their prospective in-laws all within a less than forty-eight hour time span.

Having spawned a successful franchise of two sequels, a superior yet extremely faithful American remake in the mid ‘90s and a Broadway musical production as well, it's a fascinating experiment to watch Edouard Molinaro’s terrifically funny foreign classic before you visit one of the other interpretations.

My Beautiful Laundrette (1985)

Originally made for television, the fifth film from Oscar nominated director Stephen Frears based on a screenplay from respected yet frequently controversial playwright Hanef Kureishi helped launch not only the careers of those behind the camera (as just three years later Frears made a Hollywood splash with Dangerous Liasions) but also solidified the extraordinary burgeoning talent of eventual Oscar winner Daniel Day-Lewis.

Going for a rather matter-of-fact treatment of homosexuality, the orientation of its main character Omar (Gordon Warnecke) — the Pakistani-British young man torn between loyalties to his relatives and ancestral culture and his dedication to life among his friends in ‘80s Thatcher era Britain — often takes a backseat to the political, sociological and economical issues facing society during that time.

Filled with unexpected comedy, pathos and a richly complex cast of characters including scene-stealer Day-Lewis as an old schoolmate and childhood friend of Omar’s who has become part of a racist band of hoodlums in recent years, My Beautiful Laundrette works well on a number of levels.

Despite a slightly protracted and overly slick ending, its overall authenticity in capturing the time, place, and feeling of economic hardship during the Thatcher years along with the growing prejudice in the streets as immigrants began running local businesses makes My Beautiful Laundrette an emotionally engrossing document of its era.

One of the standouts in this box set, Laundrette is a far cry better than the pretentious Bent or thinly drawn Imagine Me & You. And while you may wind up wishing Kureishi had decided to give the work a far more memorable and serious title, there’s still no denying its importance as an early showcase for audiences to discover just how well Frears manages to pull us into the worlds of his films and – much like his uniformly strong casts – make us feel as though we're part of the onscreen family.

The Adventures of Priscilla, Queen of the Desert (1994)

Although it’s a far cry better than Hollywood’s “three drag queens on the road” vehicle To Wong Foo, Thanks for Everything! Julie Newmar, I’m afraid that much like the play and movie inspired by the ABBA song featured in the film – “Mamma Mia” – I just don’t understand why this Australian import has reached camp/cult status.

While admittedly Priscilla has the makings of a camp classic, just based on the fact that Stephan Elliott’s film features British New Wave bad boy Terrence Stamp in a role as a transsexual but the movie is rather manic in its tone – never sure if it wants to just shoot for the moon as a drag queen extravaganza or get serious in the midst some pretty harrowing scenes of violent homophobia.

In addition to Priscilla’s identity crisis, one of the main characters played by Memento star Guy Pearce is so over-the-top and irritating that you find yourself ready to press eject if onscreen queens Stamp and Hugo Weaving don’t eject him from the bus for more than just one night on their journey across the outback. This being said, there’s not a whole lot I can rave about Priscilla aside from its Oscar winning costume design and a multi-layered beautiful turn by Golden Globe nominated Stamp whose supporting role becomes the one we’re touched by the most throughout the film's running time.

The Birdcage (1996)

Mike Nichols’s old comedy partner Elaine May adapted this wildly raucous remake of the ’78 foreign film La Cage Aux Folles that managed to remain both true to the plot and even a majority of the dialogue of the original work but ensure that leads Robin Williams and Nathan Lane would have plenty of room to improvise.

Despite its tremendous box office returns, upon its release reaction to the work was somewhat divided. Namely, half of the audience seemed unable to look past the stereotype embodied particularly by Lane as Albert, the partner of Williams’ Armand who also works as the headliner at their Miami South Beach drag club.

Meanwhile the other half of the audience was extremely impressed by the way the actors transcends the stereotype to truly get straight audiences to look past orientation and empathize with the couple when Armand’s son begs them to play straight for his fiance’s extremely conservative parents (Gene Hackman and Dianne Weist).

While I can see both sides of the argument, I tend to lean towards the latter reaction as Nichols’ film marks the first gay-themed film that I ventured to the theatre to see growing up as a straight, suburban teen.

The fact that I wasn’t alone in the audience as a heterosexual fully involved in the plight of the characters to me makes the film a resounding success in subtly getting the message out about tolerance, acceptance and respecting everyone’s rights to live as equals. Yet by adding in a spoonful of sugar, the filmmakers manage to consistently leave viewers in hysterics – smiling and laughing at something we may not have otherwise experienced while opening our eyes to other points-of-view.

With a far superior third act to the original film that works better on both a comedic level with Lane managing to win over a clueless Hackman as the son’s old-fashioned homemaker "mother" and likewise winning back our respect for their selfish son with some tender declarations, The Birdcage remains one of Williams’ most triumphant comedies in a decade that also scored the actor a hit in another drag related comedy, Mrs. Doubtfire.

Bent (1997)

Although it would take me another year or two to officially “discover” Clive Owen in Mike Hodges’ terrific contemporary film noir Croupier, the actor who’d first received his big break earlier in the ‘90s in Britain’s ITV series Chancer took on a rather daring role in playwright Martin Sherman’s adaptation of his own 1979 stage work Bent.

Relishing in extremely graphic images of the hedonistic lifestyle of sexually adventurous Berlin residents in the WWII era (including a cameo by Rolling Stones singer Mick Jagger as a drag performer), director Sean Matthias' Cannes award winning film earned a dreaded NC-17 rating. However, if it were released today (in the post Talk to Her society of films by Pedro Almodovar among others), I doubt that the same rating would still hold up.

While stunning, it’s a shame that so much emphasis was placed on the production design and exhibitionist sequences that kick-start the movie. As the work continues and Clive Owen’s gay character lands in the concentration camp at Dachau – managing to work out a deal and accept the Jewish designated yellow star as opposed to the gay pink triangle – the film could’ve benefited from the same attention to detail utilized in the beginning.

Similar to the far stronger 1985 screen interpretation of Kiss of the Spider Woman, Bent unfortunately remains extremely stagey throughout. Therefore, despite an excellent turn by both Owen and his co-star Lothaire Bluteau who portrays a fellow camp prisoner given the dreaded pink triangle which he describes as the lowest one can get, the film never manages to reach us on an authentic emotional level since it can’t help feeling like something akin to a play that’s simply been captured on celluloid.

The Object of My Affection (1998)

Working from Stephen McCauley’s eponymous novel, Pulitzer Prize winning playwright Wendy Wasserstein crafts some truly dazzling speeches for lead actors Paul Rudd and Jennifer Aniston in British director Nicholas Hytner’s underrated effort. Although there’s a lot about the work that doesn’t ring true from a logistical standpoint as characters all click into place for a cookie cutter, politically correct conclusion, the film has nonetheless been a bit too harshly judged.

When viewed today, it’s easy to understand why it’s been dismissed by critics in retrospect as either an Aniston film shot to capitalize on the popularity of the Friends actress whose hairstyle became a ‘90s craze or just another straight woman/gay best friend clichéd flick that became trendy during the era of Will and Grace, My Best Friend’s Wedding and Madonna and Rupert Everett’s similar venture The Next Best Thing. However, when you try to remain objective and remove the tidal waves of Friends and gay best friend trends, you’re left with much to admire thanks largely to Wasserstein’s compassionate script that centers on misplaced love in all arenas from straight to gay and platonic to romantic as the film’s characters fall in love with the wrong people at the right time or vice versa.

Equally dedicated to their work with the next generation of New York youths, Rudd’s gay first grade teacher George Harrison meets and quickly becomes fast friends and roommates with Aniston’s at-risk teenage counselor Nina Borowski shortly after George discovers from Nina that he’s been dumped by his boyfriend Tim Daly. Happier spending time together than with those they’re dating including Nina’s overbearing, fast-talking boyfriend Vince (John Pankow), the two friends seriously consider becoming their own makeshift family when Nina learns that she’s pregnant and realizes that she’d rather raise the baby with George rather than Vince.

And despite the fact that her step-sister (Allison Janney) warns Nina that she’s harboring more romantic than platonic feelings for her gay knight in shining armor given their already confusing and rather physically affectionate personal boundaries, it takes awhile for our leads to stop rationalizing and move from fantasy to reality in realizing what it is they truly want and need from one another.

Object is bolstered by some superb characterizations from its supporting cast, particularly Nigel Hawthorne as Rodney, a friend the two make late into the picture after George begins to move on with his love life. And although the movie does suffer slightly from its protracted, far too neat wrap-ups for its large ensemble cast, it’s well-worth exploring again the second time around to see what you may have missed in the midst of so much hype during your first viewing when it was nearly impossible to see Aniston in something and not think “that’s Rachel Green!”

Boys Don’t Cry (1999)

Now a contemporary classic, co-writer and director Kimberly Peirce’s feature film debut Boys Don’t Cry starring Hilary Swank in her first Oscar winning role as Best Actress is arguably the most critically acclaimed inclusion in The Cinema Pride Collection. And after watching the film today, it's damn near impossible to imagine what the true story of the short life and tragic death of twenty-one year old Teena Brandon would’ve been like if directed by interested party Diane Keaton with actress Drew Barrymore in the lead.

While obviously the professional, impressive women would no doubt have taken the responsibility of the work seriously, I think a large reason why Boys works so extraordinarily well is that aside from starring in The Next Karate Kid, Hilary Swank was relatively unknown to us at the time of its release. Likewise, Peirce’s passion for the project which manifested during a five year research mission and an award-winning Columbia University precursor short film that helped generate her funding and connections to get the feature produced made the resulting ’99 effort far more personal, heartfelt and intimate.

With so many underdogs involved in the production of Boys overcoming obstacles to live out their dreams similar to the person whose story they gathered to tell that stepped to the beat of her own personal drummer, the movie transcends the limits of both cinema and its delicate subject matter. Ultimately the film impacts viewers personally so that everyone can identify with Brandon’s sole wish just to live life while remaining true to herself. In Brandon’s case this mission meant that the female who was born with the name of Teena Brandon would embrace and overcome her “sexual identity crisis” by living her life pre-sex change operation as a male, flipping her name around to become Brandon Teena.

Careful not to gloss over anything regarding Brandon’s life and transform the character into some sort of symbol or icon, Peirce presents us with the pain, passion, and perseverance of the Nebraska individual through choices Brandon made that were both wise and foolish.

Shortly into the film, Brandon gets kicked out of her gay cousin’s place. Skipping out on authorities and a subpoena for her arrest, she befriends Candace (Alicia Goranson) and John (Peter Sarsgaard) after a bar fight.

Once John intervenes in the scuffle, he takes his new pal Brandon down to their place in Falls City, Nebraska where Brandon – still presenting himself as the boy he’s convinced he is rather than a female lesbian – quickly falls in love with John’s old flame Lana (Oscar nominated Chloe Sevigny).

As their relationship heats up so does suspicion regarding Brandon. Unfortunately nobody could’ve predicted how horrifying the turn of events would be when the truth about Brandon is finally revealed to deadly effect.

Pulling no punches, Boys Don’t Cry's extended attack and rape sequence nearly garnered the title an NC-17 rating and it's downright excruciating to watch given its stark authenticity. Yet even though admittedly, Peirce’s extraordinary docudrama isn’t the type of work I can imagine wanting to view more than once, it’s one that I feel would benefit us all to be shown in high schools in order to open up a dialogue and ensure that teens and young adults feel safe in expressing their own identity without fear of hatred, violence and murder.

Kissing Jessica Stein (2001)

Although described by Helen (Heather Juergensen) as the “Jewish Sandra Dee,” twenty-eight year old copyeditor and secretly aspiring painter Jessica Stein (Jennifer Westfeldt) initially reminds audience members of a “Jewish Annie Hall.” And this is especially apparent near the start of the film as the woman whom her matchmaking mother reminds her hasn’t dated anyone in a year endures a series of bad dates with a wide variety of men from fellow gym enthusiasts to those overly picky about how to break up the dinner bill.

And even though she explains that she could never tell her therapist because it’s way too private, somehow – beat down way too much by horrible dates and mixed signals – Jessica answers a personal ad placed by another seemingly straight woman in the form of Juergensen’s Helen, which grabs her attention thanks to its beautiful quote by Rainer Maria Rilke.

Walking back and forth from Helen repeatedly when they first meet as a freaked out Jessica tries to hail a cab, soon she surprises herself completely. After letting the possibility of sharing a drink with Helen “marinate” for awhile, soon enough those baby steps lead her to begin tentatively dating the heterosexually promiscuous museum curator, despite the fact that physical intimacy is something she still balks at much like the virginal Doris Day in old Rock Hudson sexless sex comedies.

Further complicating matters when her old college boyfriend and newspaper editor boss Josh (Scott Cohen) starts getting far more interested in her personal life to the point that he actually becomes nicer to her at work, Jessica finds herself in one confusing romantic comedy that sparkles with wit, appealing characters, and fresh conversation based upon Westfeldt and Juergensen’s original play Lipschtick.

One of the first movies to digitally remove background images of the World Trade Center, tragically the quintessentially Woody Allenesque New York movie played on the day before and after 9/11/01 during the Toronto International Film Festival in its second festival premiere. However the talented scribes’ inventive work, helmed by Charles Herman-Wurmfeld, still remains a remarkably funny, unfailingly likable, and surprisingly unique look at being single in the States.

Imagine Me &You (2006)

Before the minister asked attendees if there were any objections to the marriage of Rachel (Piper Perabo) and Heck (Matthew Goode), perhaps it would’ve been better if he’d checked with the bride. In writer/director Ol Parker’s debut film, pretty and thoughtful Rachel is all set to marry her best friend Heck but finds herself pulled by unexpected stirrings on the way to the altar after she catches sight of Luce (Lena Headey), the beautiful florist her mother had hired to piece together the bouquets and arrangements for Rachel’s big day.

At the reception, the two become fast friends when Luce rescues Rachel’s oversized wedding ring from the party punch bowl. And although Rachel tells husband Heck that she feels a certain near soul-mate like friendship connection with Luce, she and Heck decide to play matchmaker by inviting Luce and Heck’s obnoxious humorous admittedly cad like friend (as is always the case in British comedies) to dinner but before he arrives, Luce admits that she’s just not that into men.

Her confession complicates Rachel’s ability to spend time with her new friend, not out of prejudice but the opposite as she begins to see that her lifestyle may be the one Rachel had belonged in all along, although Luce tries to distance herself from her acquaintance not wanting to mess with a couple’s happiness.

Despite the overly polite and – as several critics pointed out – unbelievably convenient and nearly apologetically chaste proceedings that made Imagine Me and You the second ’06 film including the bright but admittedly far fetched Gray Matters to deal with a marital love triangle and female’s coming out, the charms of not only Headey and Goode but especially the always under-utilized Piper Perabo make it entertaining.

Although as a straight filmgoer, I can see the arguments of my gay friends in their opposition to the trite plot points and feel this may have begun in the film’s initial stages as it was originally written as a heterosexual love story, it’s still another forgettable, escapist British comedy that’s sure to delight.


Text ©2010, Film Intuition, LLC; All Rights Reserved. http://www.filmintuition.com Unauthorized Reproduction or Publication Elsewhere is Strictly Prohibited and in violation of the Digital Millennium Copyright Act.

FTC Disclosure: Per standard professional practice, I received a review copy of this title in order to evaluate it for my readers, which had no impact whatsoever on whether or not it received a favorable or unfavorable critique.

Text Copyright © 2014, Film Intuition. All Rights Reserved. http://reviews.filmintuition.com/

DVD & Blu-ray Review: Swing Vote (2008)

Campaigning for Your Vote
On DVD & Blu-ray
1/13/09

In 2007, the world was introduced to the young Irish actress Saoirse Ronan with her Oscar nominated turn in director Joe Wright's acclaimed Golden Globe winning heartbreaker Atonement, based on the novel by Ian McEwan.

While admittedly, director Joshua Michael Stern's political satire Swing Vote doesn't aim for the same high brow art house crowd, those who sought out the 2008 film in its August release, became acquainted with a young, extraordinarily talented eleven-year-old American actress named Madeline Carroll.

Turning in a performance that was both bittersweet and mature, the young girl whom actor Kevin Costner called the film's "little home run" in the DVD & Blu-ray Making-of Featurette managed to keep us interested, even when the sometimes bloated film began to veer off course.

Holding her own opposite not only Costner but Stanley Tucci and other acclaimed professionals more than three times her age, it was young Carroll who managed to stop the film from becoming a spoiled ballot, despite a number of fine supporting performances and an ingenious concept.

Now arriving on DVD and Blu-ray in the same month that our country finds ourselves being given a new opportunity with a change of leadership, it's the right time to check out a political comedy now that we can all collectively breathe a sigh of relief that campaign media coverage has ended.

And although I can't altogether recommend the film which moves unevenly in tone-- I have to recommend that you seek it out regardless as young Carroll definitely earned the vote of this reviewer in a performance that I listed as one of the standouts of the year in Film Intuition's 2008 Year in Review.

However, before I delve into the aspects both the DVD and Blu-ray disc themselves, I'll break this post up into three parts beginning with my original theatrical review of the film.

I. The Movie

Director: Joshua Michael Stern

To precocious twelve-year-old Molly Johnson (an impeccable Madeline Carroll), voting is not only an optimistic privilege but it’s also an American citizen’s “civic duty.” However, to Molly’s under-achieving father whom — for the zero parenting he offers — she fittingly calls Bud (Kevin Costner), voting in America simply risks the chance that you’ll wind up on the fast track for jury duty. Unfortunately for Bud, along with making the family budget and packing his daily lunch, Molly registered her father to cast his vote, aligning him as a political “independent” since she proclaims that “the two-party system neglects the working poor.”

While Lou Dobbs would no doubt beam with pride, Bud struggles to make sense of his daughter. This is especially the case when — in equal fascination of the electoral process as well as her tie-in school project — Molly reveals that she took the trouble to fill in her parental political questionnaire for Bud because she wanted to make him “sound smart.” Despite his protests and canned statements that voting is useless, Molly demands that her father meet her at the polling place after school with a peck on the cheek and a warning to Bud, namely, “screw this up and I’m leaving you.”

And while Molly has a fruitful day delivering a beautifully worded political essay and ends up on the news after local Texico, New Mexico reporter Kate Madison (Paula Patton) decides to feature it in the evening broadcast, Bud’s prospects that day are far less successful. With incriminating footage that depicts Bud ruining more of the eggs than he’s able to neatly package in the plant where he works — not to mention the fact Bud hasn’t punched in on time in six months and proceeded to take thirty-one sick days — before he’s officially laid off, his boss and former high school friend asks him to give him one good reason not to let him go. Foreshadowing his inability to make a decision which will propel the rest of Swing Vote's plot, needless to say Bud can’t offer him any explanations.

Later, predictably forgetting his promise to Molly until it’s nearly too late, Election Day ends on a far stranger note after a bizarre computer error concerning Bud’s vote makes the results of the day — already in a deadlock for the presidency — all boil down to whom Bud will vote for ten days later when, by oath, he swears he must recast his vote. Literally holding the fate of the government in his hands as his vote will decide which candidate earns swing state New Mexico’s five electoral votes and ensures him the presidency, Bud is overwhelmed by the media reaction as every major outlet from MTV to CNN to the BBC sets up a stakeout right outside his trailer. And just as quickly, political organizations start flooding into the tiny town that — before the gaffe — had been so inconsequential it wasn’t even on the state map.

However, the story really heats up when both candidates journey out to try and win over Bud by any means necessary. Pulling out all the stops and White House goodie bags he can carry, the first of the two competing front-runners, the favored Republican incumbent President Andrew Boone (a pitch-perfect Kelsey Grammar) arrives in Texico complete with the aptly named Martin Fox, his amoral strategist, in tow (Stanley Tucci). Also vying for Bud’s ear — or rather his vote — the earthy Democratic challenger Donald Greenleaf (Dennis Hopper), who along with his campaign manager Art Crumb (Nathan Lane) promises a racially blind, all inclusive “rainbow” White House, pack up their “Truth Train” and “Operation Real Deal” to make the long trek to the desert. Although the Dems learn that — while they can’t even begin to compete with Air Force One — their secret weapon is none other than Willie Nelson, who was the subject of a tribute band that Bud had played in before his rhythm section ended up in the slammer.

In an effort to better understand Bud, the candidates and their smarmy managers resort to shameless pandering, insincere flattery, and manipulation, including letting the dimwitted, perpetual beer drinker win at poker or using cue cards to make small talk with Bud about fishing. Most memorably, this results in a wonderfully hilarious speech by Grammar likening his role as commander-in-chief to that of a quarterback, breaking foreign policy down with the aid of football terminology. Grammar nails every scene he’s in and nobody plays a buffoon or the prototypical blue collar American male quite like Kevin Costner, although he’s essentially recycling the far more likable characterizations he crafted in Bull Durham and Tin Cup.

However, by making our lead character such an idiotic Homer Simpson-like oaf, we’re laughing at Bud rather than with him throughout the film’s entirety. And far more often than I felt empathy for him, I was surprised to find myself actually loathing him numerous times throughout because of his complete inability to see beyond himself and understand not just the gravity of the situation but recognize how it’s all affecting his daughter. Speaking of which, as Molly, the young Madeline Carroll completely steals the film and our hearts in the process, especially in a scene wherein she shows far more worldliness and morality than her father ever could, while breaking down in tears in front of her classroom, telling white lies in order to make her father sound like he actually cares about the country he’s living in and his fellow Americans.

For a comedy, Swing Vote is a bit more melancholic than perhaps director Joshua Michael Stern, along with his co-writer Jason Richman, had planned since there’s nothing funny about child neglect; but they try to keep the satire swinging along with the mystery of Bud’s vote and make great use out of their supporting players in the process. As the candidates begin to address Bud directly in a series of new political ads, suddenly Costner’s Bud becomes his very own Truman Show, being followed and analyzed around the clock in every journalistic medium. Although quality wise, Swing Vote is less like Truman Show and more like EdTV.

However, hilarity ensues as the candidates embrace political flip-flopping as the Republicans suddenly promote gay marriage and environmental protection with the Democrats tackling illegal immigration and embracing the pro-life movement simply because the inarticulate Bud misspoke a few times while being interviewed by the beautiful local, ambitious newswoman Kate Madison. In an underdeveloped subplot, Madison, who shares a bond with Bud’s brainy daughter, must reconcile her ethics with her desire to get ahead in the business, seeing Bud’s story as the ultimate break in getting the hell out of her tiny town and station run by George Lopez in order to follow in the footsteps of idols like Paula Zahn.

With the inclusion of an “everyman” and a “reporter with a conscience,” Stern reaches to emulate the type of underdog film that Frank Capra perfected with Mr. Deeds Goes to Town and Mr. Smith Goes to Washington. And while the performers elevate the material, Stern forgot the fact that what made Capra’s films such a success is they delivered us a hero we could root for and one whom - despite not being the smartest - had a heart as big as the White House and therefore endeared us to him from the get-go. Predictably, Costner’s Bud has a wake-up call late into the film but it’s rushed and protracted — crammed into the last twenty minutes, making it pay off less than it could have had we seen glimmers of his goodness earlier on.

While it’s not as cynically intelligent as Wag the Dog or Bulworth, nor as paranoid as the underrated Man of the Year, there’s no doubt this film plays much better during this particular election year with audiences growing weary of endless coverage of the candidates and outrageous accusations and distracting spin. Despite this, Swing’s sound bites and satire get awfully repetitive in the last hour of the film’s surprisingly lengthy running time.

And similar to the way that the issues a voter cares most about are often neglected as soon as their candidate hits the Oval Office, on my way out of Stern’s film I felt like I’d just voted again. For instead of contemplating any food for thought by recalling some truly terrific scenes and stellar performances, I wondered what would have happened if the film hadn’t been ultimately overshadowed by such an inconsistent screenplay. Now that’s something that calls for a re-vote or at least, in the case of Swing Vote — political comedy reform.

II. The DVD

Featuring an audio commentary by the two friends turned professional collaborators, writer/director Joshua Michael Stern and his fellow scribe Jason Richman, this beautifully transferred widescreen DVD from Walt Disney Home Studios Entertainment and Touchstone Pictures arrives with great new cover art to highlight the film's stellar cast via an Altman-like design although unfortunately Carroll isn't billed in either side of the box.

Revealing that the impetus behind the film was following the shock of the 2000 election and the scary idea that the presidential decision could be narrowed down to "a tiny district in Florida," Stern and Richman share that they figured narrowing it down even further to just one man wasn't only not far fetched but great comedy fodder.

When it came to casting, the two who share that they "always wanted Costner" for the lead in order to "deconstruct his movie star persona," gratefully reveal the actor's generosity in arriving on the set as an actor first and foremost and leaving his "director's hat" at home (so-to-speak), ensuring that the film was the young director's vision through and through.

Crediting the richness of the script and the way it moved from humor to great emotion, numerous actors reveal the way that they were drawn to the piece because of precisely that mixture and the added bonus that it would make audiences think as well.

"Let's face it, we're making fun of ourselves as a country," one interviewee notes in the extra "Inside The Campaign: The Politics of Production," but in doing so, the filmmakers wanted to add as much credibility and authenticity as possible in persuading reporters, anchors and pundits from Larry King to Arianna Huffington to Bill Maher to make brief "TV Cameos" to heighten the film.

Additionally, it features some great tongue-in-cheek remarks from the cast including Grammer who notes that he couldn't turn down the opportunity to act opposite an elephant (as we discover in the deleted scenes) and Dennis Hopper who jokes that although this is a long ways away from Easy Rider and Blue Velevet, he doesn't "want to give up my day job playing villains."

Likewise, we also gain a greater appreciation for Patton's turn as the actress shares the way she studied the posture, intimations, and delivery of CNN and other channels to nail her character, along with Tucci who we discover improvised one of the funniest lines of the film that made it into the trailer (a spontaneous response to Carroll's charge that he would sell his own mother).

Additionally, although it's standard DVD fare, when it comes to Swing Vote, the deleted and extended scenes (with optional filmmaker commentary) are actually worth watching as-- in the two best ones that add more humanity to the politicians-- we see a hilarious "what if?" moment as Tucci and Lane hypothesize the way they could change Washington, Hopper and Grammer get in touch with the real reason they entered politics in the first place (including that aforementioned elephant).

Also boasting the "Hey Man, What About You?" music video from Costner's band Modern West which fuses footage of the film together and giving fans a better gauge of the actor's true musical talent (in lieu of the purposely overdone Bud Jams with the Democrats sequence in the film), the DVD also includes an insert for the debut album by the band-- Untold Truths-- which you can learn more about on the official website.

III. The Blu-ray Disc

As Walt Disney Home Entertainment was generous enough to send out both formats for Swing Vote, I was able to judge the technical quality of the film's Blu-ray version as well. Boasting the same featurettes that comprise the DVD (as described above) and a fun interactive menu that uses the sound of camera "flash bulbs" as you move through the options, the Blu-ray's quality is predictably far superior to the DVD with the soundtrack blaring out as though we were in a rock arena in 5.1 DTS-HD surround (especially evidenced in one of the earliest scenes as Bud drives Molly to school).

Seducing owners of Blu-ray players with a plethora of pre-feature trailers to experience the works of Miramax, Paramount Vantage, and other Disney owned films in the HD format, you'll get chills seeing some clips of your favorite films like Kill Bill and There Will Be Blood in their Blu-ray glory (which I can actually attest to, having rented Blood recently on Blu).

As for the feature film itself, Swing Vote's Blu-ray transfer is crystal clear from the far left of the screen to the far right as we can see heightened detail in flesh-tones, individual hairs blowing, and a wondrous magical effect of the chicken feathers flying as though they were snow at Bud's workplace near the beginning.

With heightened 3D like depth perception and a super sharp contrast, Swing Vote excels. This is particularly noticeable in scenes where the politicians and reporters all clamor together dressed in dark business suits, holding cameras and microphones with a high transfer of the deep, rich black tones that don't blur together to a muddy effect to which some Blu-rays have fallen prey. Thus in the end, it offers home viewers an even better Voter experience than the one I witnessed via the print I viewed during a crowded press screening back in August of '08.

Swing Vote (2008)

Read the DVD Review


Director:
Joshua Michael Stern


To precocious twelve-year-old Molly Johnson (an impeccable Madeline Carroll), voting is not only an optimistic privilege but it’s also an American citizen’s “civic duty.” However, to Molly’s under-achieving father whom — for the zero parenting he offers — she fittingly calls Bud (Kevin Costner), voting in America simply risks the chance that you’ll wind up on the fast track for jury duty. Unfortunately for Bud, along with making the family budget and packing his daily lunch, Molly registered her father to cast his vote, aligning him as a political “independent” since she proclaims that “the two-party system neglects the working poor.”

While Lou Dobbs would no doubt beam with pride, Bud struggles to make sense of his daughter. This is especially the case when — in equal fascination of the electoral process as well as her tie-in school project — Molly reveals that she took the trouble to fill in her parental political questionnaire for Bud because she wanted to make him “sound smart.” Despite his protests and canned statements that voting is useless, Molly demands that her father meet her at the polling place after school with a peck on the cheek and a warning to Bud, namely, “screw this up and I’m leaving you.”

And while Molly has a fruitful day delivering a beautifully worded political essay and ends up on the news after local Texico, New Mexico reporter Kate Madison (Paula Patton) decides to feature it in the evening broadcast, Bud’s prospects that day are far less successful. With incriminating footage that depicts Bud ruining more of the eggs than he’s able to neatly package in the plant where he works — not to mention the fact Bud hasn’t punched in on time in six months and proceeded to take thirty-one sick days — before he’s officially laid off, his boss and former high school friend asks him to give him one good reason not to let him go. Foreshadowing his inability to make a decision which will propel the rest of Swing Vote's plot, needless to say Bud can’t offer him any explanations.

Later, predictably forgetting his promise to Molly until it’s nearly too late, Election Day ends on a far stranger note after a bizarre computer error concerning Bud’s vote makes the results of the day — already in a deadlock for the presidency — all boil down to whom Bud will vote for ten days later when, by oath, he swears he must recast his vote. Literally holding the fate of the government in his hands as his vote will decide which candidate earns swing state New Mexico’s five electoral votes and ensures him the presidency, Bud is overwhelmed by the media reaction as every major outlet from MTV to CNN to the BBC sets up a stakeout right outside his trailer. And just as quickly, political organizations start flooding into the tiny town that — before the gaffe — had been so inconsequential it wasn’t even on the state map.

However, the story really heats up when both candidates journey out to try and win over Bud by any means necessary. Pulling out all the stops and White House goodie bags he can carry, the first of the two competing front-runners, the favored Republican incumbent President Andrew Boone (a pitch-perfect Kelsey Grammar) arrives in Texico complete with the aptly named Martin Fox, his amoral strategist, in tow (Stanley Tucci). Also vying for Bud’s ear — or rather his vote — the earthy Democratic challenger Donald Greenleaf (Dennis Hopper), who along with his campaign manager Art Crumb (Nathan Lane) promises a racially blind, all inclusive “rainbow” White House, pack up their “Truth Train” and “Operation Real Deal” to make the long trek to the desert. Although the Dems learn that — while they can’t even begin to compete with Air Force One — their secret weapon is none other than Willie Nelson, who was the subject of a tribute band that Bud had played in before his rhythm section ended up in the slammer.

In an effort to better understand Bud, the candidates and their smarmy managers resort to shameless pandering, insincere flattery, and manipulation, including letting the dimwitted, perpetual beer drinker win at poker or using cue cards to make small talk with Bud about fishing. Most memorably, this results in a wonderfully hilarious speech by Grammar likening his role as commander-in-chief to that of a quarterback, breaking foreign policy down with the aid of football terminology. Grammar nails every scene he’s in and nobody plays a buffoon or the prototypical blue collar American male quite like Kevin Costner, although he’s essentially recycling the far more likable characterizations he crafted in Bull Durham and Tin Cup.

However, by making our lead character such an idiotic Homer Simpson-like oaf, we’re laughing at Bud rather than with him throughout the film’s entirety. And far more often than I felt empathy for him, I was surprised to find myself actually loathing him numerous times throughout because of his complete inability to see beyond himself and understand not just the gravity of the situation but recognize how it’s all affecting his daughter. Speaking of which, as Molly, the young Madeline Carroll completely steals the film and our hearts in the process, especially in a scene wherein she shows far more worldliness and morality than her father ever could, while breaking down in tears in front of her classroom, telling white lies in order to make her father sound like he actually cares about the country he’s living in and his fellow Americans.

For a comedy, Swing Vote is a bit more melancholic than perhaps director Joshua Michael Stern, along with his co-writer Jason Richman, had planned since there’s nothing funny about child neglect; but they try to keep the satire swinging along with the mystery of Bud’s vote and make great use out of their supporting players in the process. As the candidates begin to address Bud directly in a series of new political ads, suddenly Costner’s Bud becomes his very own Truman Show, being followed and analyzed around the clock in every journalistic medium. Although quality wise, Swing Vote is less like Truman Show and more like EdTV.

However, hilarity ensues as the candidates embrace political flip-flopping as the Republicans suddenly promote gay marriage and environmental protection with the Democrats tackling illegal immigration and embracing the pro-life movement simply because the inarticulate Bud misspoke a few times while being interviewed by the beautiful local, ambitious newswoman Kate Madison. In an underdeveloped subplot, Madison, who shares a bond with Bud’s brainy daughter, must reconcile her ethics with her desire to get ahead in the business, seeing Bud’s story as the ultimate break in getting the hell out of her tiny town and station run by George Lopez in order to follow in the footsteps of idols like Paula Zahn.

With the inclusion of an “everyman” and a “reporter with a conscience,” Stern reaches to emulate the type of underdog film that Frank Capra perfected with Mr. Deeds Goes to Town and Mr. Smith Goes to Washington. And while the performers elevate the material, Stern forgot the fact that what made Capra’s films such a success is they delivered us a hero we could root for and one whom - despite not being the smartest - had a heart as big as the White House and therefore endeared us to him from the get-go. Predictably, Costner’s Bud has a wake-up call late into the film but it’s rushed and protracted — crammed into the last twenty minutes, making it pay off less than it could have had we seen glimmers of his goodness earlier on.

While it’s not as cynically intelligent as Wag the Dog or Bulworth, nor as paranoid as the underrated Man of the Year, there’s no doubt this film plays much better during this particular election year with audiences growing weary of endless coverage of the candidates and outrageous accusations and distracting spin. Despite this, Swing’s sound bites and satire get awfully repetitive in the last hour of the film’s surprisingly lengthy running time.

And similar to the way that the issues a voter cares most about are often neglected as soon as their candidate hits the Oval Office, on my way out of Stern’s film I felt like I’d just voted again. For instead of contemplating any food for thought by recalling some truly terrific scenes and stellar performances, I wondered what would have happened if the film hadn’t been ultimately overshadowed by such an inconsistent screenplay. Now that’s something that calls for a re-vote or at least, in the case of Swing Vote — political comedy reform.