THE REAL BLONDE
A Film Review by James Berardinelli
RATING: *** OUT OF ****
United States, 1998 U.S. Release Date: beginning 2/27/98 (limited) Running Length: 1:30 MPAA Classification: R (profanity, sexual situations) Theatrical Aspect Ratio: 1.85:1
Cast: Matthew Modine, Catherine Keener, Maxwell Caulfield, Bridgette Wilson, Daryl Hannah, Elizabeth Berkley, Marlo Thomas, Christopher Lloyd Director: Tom DiCillo Producers: Tom Rosenberg and Marcus Viscidi Screenplay: Tom DiCillo Cinematography: Frank Prinzi Music: Jim Farmer U.S. Distributor: Paramount Pictures
With THE REAL BLONDE, director Tom DiCillo places another interesting title onto a diverse resume which already includes JOHNNY SUEDE, LIVING IN OBLIVION, and BOX OF MOONLIGHT. THE REAL BLONDE, which examines the difference between illusion and reality, and satirizes the acting industry, is easily the lightest of DiCillo's films, and, although the seams in the plot are visible (the movie plays best as a series of loosely-connected comic vignettes), there's enough light substance and lighter humor to warrant a recommendation.
The principals are Joe (Matthew Modine) and Bob (Maxwell Caulfield), a pair of out-of-work actors who are making a living waiting tables for the ever-stern Ernst (Christopher Lloyd). Joe believes in the purity of his craft – the only kinds of acting jobs he's interested in are "serious" ones. His resolve is tested, however, when Bob gets a plum role on the soap opera PASSION CREST. There's nothing remotely respectable about the part, but it offers Bob a regular income of $3600 per week and turns him into an overnight heartthrob. Suddenly, a jealous Joe, with some prodding from his live-in girlfriend, Mary (Catherine Keener), decides that if he's going to be an actor, he's going to have to compromise his values. So he goes to his agent (Kathleen Turner) and tells her he's willing to do anything – even a TV commercial or a music video.
The title comes from an obsession of Bob's – for him, Ms. Right has to be a "real blonde." His on-again, off-again girlfriend, insecure supermodel Sahara (Bridgette Wilson), is a sweet, gorgeous girl, but she's got a dye job. Bob finds what he thinks he wants in Kelly (Daryl Hannah), his leading lady on the soap. He soon learns, however, that just because a woman really has blond hair doesn't mean that there's nothing artificial about her personality.
One aspect of American culture that THE REAL BLONDE successful captures (and skewers) is the hollowness of what we're exposed to through the media. Image and fantasy are everything; reality is valueless. Bob is obsessed with a "real blonde" because he's tired of fake women – the irony is that he's just as artificial as any of the girls he goes out with. Meanwhile, Joe complains that "everyone around me is false, so I'm constantly lowering my ideals." Photo shoots are exposed as far more grueling and unpleasant than the sexy, glossy images would indicate. And a Madonna music video features a body double (Elizabeth Berkley) lip-synching the words. What's authentic in an industry of make-believe?
The acting is a mixed bag. Matthew Modine is decidedly unappealing as Joe, and, since we're supposed to sympathize with him (even though he's a whiner), this is a source of minor irritation. On the other hand, Catherine Keener (who has appeared in all of DiCillo's films) is luminous. Mary is down-to-earth and likable, which helps compensate for the lack in Modine's performance. Max Caulfield and Bridgette Wilson give effectively comic turns as shallow people. Daryl Hannah, not known as an actress of great range, is also surprisingly good, perhaps in part because she's essentially lampooning an image of herself. There are also a number of cameos: Christopher Lloyd, Denis Leary, Kathleen Turner, Steve Buscemi, Buck Henry, and Marlo Thomas.
Of course, while THE REAL BLONDE has a message, that's not its most noteworthy aspect. The comedy in the film, which varies from clever and insightful ("Empty V" – say that aloud) to downright silly (Joe's bathing suit), frequently works. I especially loved a scene in which just about everyone in a restaurant contributes to a deconstruction of THE PIANO. That sequence alone is almost worth the price of admission. Overall, however, THE REAL BLONDE would have been even more satisfying if it had seemed like a coherent whole rather than a batch of skits loosely connected by DiCillo's story arc of a struggling actor trying to remain true to both his calling and the woman he loves. Nevertheless, in part because of Keener's appeal and in part because DiCillo gets his point across with a successful portion of humor, THE REAL BLONDE is enjoyable and inviting.
Copyright 1998 James Berardinelli
- James Berardinelli e-mail: berardin@mail.cybernex.net
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