No Lemons in CADILLAC MAN
A film review by Elisabeth Riba
Copyright 1990 Elisabeth Riba
CADILLAC MAN opens with shots of a cemetery. An unlikely place to begin a movie about cars ... until we focus on the procession stalled by a broken hearse. Not only does Robin Williams, the consummate salesman, pitch the undertaker, he also hits on the widow.
Despite this sell-at-all-costs attitude (or perhaps because of it) Williams doesn't move the cars as fast as he once did. His problems pile on quickly. He can't resist the ladies, juggling three of them as the film starts. To help meet his expenses, he owes massive debts to some not-so-savory sources. And then he receives an ultimatum. Williams will lose his job unless he can sell twelve cars in two days.
That sets up a tidy plot--Robin Williams does DEATH OF A SALESMAN. But just as you think you've got the movie straightened out, it throws you a curve. Tim Robbins (BULL DURHAM) takes the dealership hostage. You see, his wife is having an affair with someone in the office, and he wants to know who. Only Williams' practiced patter can free them.
I found this movie the funniest I've seen all year. It doesn't reflect as sharp a vision as other black comedies, but it also isn't as cruel.
Generally, the minor characters portrayed broad stereotypes. However, strong acting took them past the familiar territory. Both of Williams' girlfriends had strong personalities, although his ex-wife seemed rather bland. Likewise, the other salesmen seemed to blend together, although the customers all sharply define themselves.
Tim Robbins basically reprises his role of befuddled innocent from BULL DURHAM. All he wants to know was "Who did Donna?" As his plot falls apart, his frustration is evident. He honestly never expected police to show up. When they request his demands, he only wants them to go away. Despite the situation, you soon sympathize with him.
Robin Williams is quite credible as the sleazy salesman. He knows the reputation and lives up to it. Williams narrates the bridges and slower scenes, the camera an invisible passenger in his car. I found this technique distracting at times, although his points were often valid.
Robin Williams has definitely graduated from the pack of Seventies' comics. While much of the SNL/SCTV crowd has stagnated, he takes us from laughs to near tears in seconds. If future movies continue in the vein of CADILLAC MAN and DEAD POETS' SOCIETY, I can see Robin Williams winning an Oscar within the next decade.
The language seemed unnecessarily strong, but didn't detract too much from the story. Otherwise, it was a marvelous film. The soundtrack consisted of older tunes. In some ways, this added to the image of Robin Williams as a dying breed.
Although I enjoy most movies, I'm offering unequivocal praise here. See this film and do so soon. I'm afraid that the summer blockbusters will roll CADILLAC MAN right out of the theaters. But that's a shame, because this definitely deserves a test drive.
--
Lady Lis
~~~~~~~~
a.k.a. Elisabeth Anne Riba
lis@cs.brandeis.edu
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