PATCH ADAMS
A movie review by Joe Barlow
(c) Copyright 1999
STARRING: Robin Williams, Monica Potter, Philip Seymour
Hoffman, Daniel London, Bob Gunton
DIRECTOR: Tom Shadyac
WRITER: Steve Oedekerk (based on the book
"Gesundheit: Good Health Is a Laughing
Matter" by Dr. Hunter Doherty Adams)
RATED: PG-13
RELEASED: 1998
SEEN AT: Imperial Cinema, Cary NC
RATING: ** 1/2 (out of a possible ****)
It's a shame when a film comes so close to getting it right. "Patch Adams" seems to know what it's doing and where it's headed for so much of the time that its gradual descent into cheap, manipulative melodrama is a far greater tragedy than anything depicted in the story itself. As a comedy, there are plenty of wonderful moments... but as a drama, this film needs immediate medical attention.
It's been said that laughter is the best medicine, and Hunter "Patch" Adams (Robin Williams) apparently agrees. A fun-loving and mischievious (but big-hearted) scamp, Patch thinks the power of humor and kindness are traits that can be used to facilitate healing. As a medical student, Patch's outlandish antics earn him the scourn of the medical powers that be... even as this same behavior endears him to his patients.
Does that plot summary seem a little familiar? Of course it does: it's the same basic formula used in any number of other Robin Williams vehicles, including "Good Morning Vietnam," "Dead Poets' Society," and, to a certain extent, "Good Will Hunting." Although the same basic storyline appears in each of these films (kind-hearted mentor uses unorthodox methods to reach out to others as supervisors frown), "Patch Adams" does not reach the dramatic heights attained by its illustrious predecessers, despite a number of attempts. The main reason: a complete lack of subtlety on behalf of its screenplay. This film is shameless in the way it assaults the audience with its manipulative juices. Let's take inventory: we have (1) an abundant supply of sick, lonely children; (2) an orchestral score that beats you over the head with the pure force of its saccharine; (3) the death of not one but *two* characters important to our protaganist over the course of the story, which leads us straight into (4) a heartfelt speech delivered to a tombstone. All this I might be willing to overlook, but there is a moment towards the end of the film that it so blatant and astoundingly ridiculous that I must make mention of it. I won't reveal the specific details, but it involves all those sick, lonely children making an appearance when Patch's spirits are at their lowest ebb. I was so moritifed at this obvious attempt to give the audience 'warm fuzzies' that I actually grabbed the arm of my chair to prevent myself from walking out.
If the dramatic elements of the story are disappointing, however, the comedic moments are a lot of fun. The film is most successful when it deals with Adams's effervescent personality, for it's then that Williams is allowed to do what he does better than any other actor in Hollywood: go completely crazy. I can't deny that the character of Patch is a lot of fun to watch, which once again proves my theory that when Robin Williams is having a good time, the audience will too. The gags are fast, frequent, and laugh-out-loud funny, with the best moments involving Adams's special preparations for a visiting gynecological convention, and the hosting of a "balloon safari" in a patient's room.
The stumbling blocks (and alas, there are many) show up when the film attemps to convince us that it's a far more important work than it actually is. Unquestionably the story deals with important issues, but the delivery of this material is so heavy-handed that I felt quite put off by it. Basking in stereotype, "Patch Adams" paints everyone in strict black and white terms; they are either "good," like Patch and his shy friend Truman (Daniel London), or "bad," like Dean Walcott (Bob Gunton) and most of the other authority figures we meet. I don't know a single person in the real world who is strictly one-dimensional, yet this film is overflowing with them.
"Patch Adams" has flashes of creative inspiration, a message that's worth hearing, and a tremendous performance by Robin Williams in the title role; these three items are enough to make me hesitatingly recommend it. It's a shame, however, that these positive traits are forced to fight for screen time with cardboard-like supporting characters and countless attempts at audience manipulation. A good drama can make an audience cry, but "Patch Adams" jams a tube in its viewers' eyes and attempts to siphon their tears.
E-Mail: jbarlow@earthling.net Joe Barlow on Film: http://www.ipass.net/~jbarlow/film.htm
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