L. A. STORY
A film review by Mark R. Leeper
Copyright 1991 Mark R. Leeper
Capsule review: Steve Martin borrows the style of the
early Woody Allen films in a pleasant love story told against
a background of a Los Angeles of the mind. While lampooning
life in Los Angeles, Martin also demonstrates a good deal of
affection for his city. Rating: high +1 (-4 to +4).
In STARDUST MEMORIES, the aliens tell Woody Allen, "We like your films, especially the 'earlier, funnier' ones." It is a running gag. Everybody in STARDUST MEMORIES likes Allen's "earlier, funnier" films. Actually, even outside of STARDUST MEMORIES, people seem to prefer Allen's earlier style, but Allen does not want to go back to it. That makes it fair game for other filmmakers. With L. A. STORY, Steve Martin is filling that void, picking up the earl Allen style. We have a film with a slight plot which is really mostly an excuse to tie together small skits, jokes, and sight gags about life in Los Angeles. Martin, who scripted, is every bit as loving of his Los Angeles, in spite of its faults, as Woody Allen is of New York City (and speaking as someone living in the New York area, with just as much reason).
Martin plays Harris Telemacher who in spite of his Ph.D. is a sort of television clown weather man. He breaks up with his mistress who is selfish and uninteresting and begins dating a 23-year-old nymphette, but he really wants to win a British journalist (played by Victoria Tennant) who is in town to write an elitist, snobby, put-down article about Los Angeles. Unfortunately, she finds both the town and its goofy weather man entirely charming, each in spite of its little quirks. But Harris has problems deciding what he really wants romantically and going for it. Then from the most unexpected source, a mystical force takes control of Harris's life and pushes it in the right direction. While the style is archeo-Allen, the plot is really neo-Allen and there is more than a little similarity between the plot of L. A. STORY and a film like PLAY IT AGAIN, SAM or even the current ALICE.
But L. A. STORY's attraction is not so much plot as sidebar humor. Martin takes affectionate swipes at traffic congestion, earthquakes, the superficiality of the people, crime, and a lot more. Here and there Martin swipes a scene from some well-known source. Knowing some very basic French and Spanish will be of some assistance too.
Steve Martin deserves additional credit for letting someone else, Mick Johnson, direct L. A. STORY. All too often when the star of a film writes the screenplay, he feels he should direct also. Many good actors have a very hard time directing themselves, though they do not realize how hard a time they had until the film is released. Gene Wilder is one actor who cannot direct himself, for example. By letting someone else direct, Martin can concentrate on his performance. And his performance is fine in this slight but funny comedy. I rate it a high +1 on the -4 to +4 scale.
Mark R. Leeper
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