The cinema of the 1990's will be remembered for two things: Quentin Tarantino's revolutionary "Pulp Fiction" and its slew of rip-offs, and the spate of films about filmmaking. It is no surprise that since "The Player," we have become bombarded by several films about making films in many different avenues. We have seen low-budget independent filmmakers (Living in Oblivion), fillmaking-on-the-fringes (My Life's In Turnaround), bad low-budget filmmakers (Ed Wood), porno filmmaking (Boogie Nights), Hollywood filmmaking (The Player), mob-financed filmmaking (Get Shorty), low-level Hollywood filmmaking (Bowfinger), and so on. I greeted Albert Brooks' latest film, "The Muse," with delight because of its stellar cast and because of the cynical edge of Brooks. I am happy to report that "The Muse" is among his funniest, lightest works, always tinging with delectable wit from start to finish.
Albert Brooks stars as Steven Philips, a comedy screenwriter desperate to sell his latest script after winning a humanitarian award ("It's an award you win when you don't win an Oscar."). The next day, he is anxious and meets with a stiff, humorless studio exceutive, Josh Martin (Mark Feuerstein), and is told none too subtly he's out of a job. "You've lost your edge. Take a vacation," says Martin. Steven is torn since writing for films is his life, and realizes his office will be occupied by Brian De Palma. He tries to get an idea that could reestablish him in the realm of Hollywood, as well as continuing to support his wife (Andie McDowell), an ambitious baker, and his two kids.
Steven finds a surprise in the form of a woman in glittery blue dresses named Sara (Sharon Stone) - she is introduced by Steve's friend Jack (Jeff Bridges), a writer. Sarah turns out be the resident Muse of La-La Land - "I...inspire!" declares Sara.
Steven is faced with a barrage of responsibilities to keep Sara as his Muse. He has to rent a luxurious room at the Four Seasons Hotel for her, provide round-the-clock food and car service for her immediate needs such as a "Waldorf salad," and he must always bring a boxed trinket from Tiffany's to her. And this is all for her to provide inspiration for the struggling writer. I question a comedy writer coming up with a half-baked idea like an aquarium run by Jim Carrey, but that is of little consequence.
"The Muse" coasts along Brooks's typically cynical, neurotic edge, Sharon Stone's comic sparkle, and the relentless number of inside jokes that will tickle people from Hollywood and movie trivia buffs. There are humorous cameos by film luminaries such as James Cameron, Rob Reiner, Martin Scorsese, Jennifer Tilly, Cybill Sheperd, Lorenzo Lamas, and several others. I enjoyed Scorsese's frenetic moment when he announces he's making a remake of "Raging Bull" with a thin, angry guy. Jennifer Tilly's bit is especially cute when Brooks refers to her as a "doll like Chucky." Tilly was of course in "Bride of Chucky."
The biggest, most sensational surprise is Sharon Stone, who I always believed had a gift for comedy but was never allowed to utilize it. Outside of her small comic parts in "He Said, She Said" and "Diary of a Hitman," this marks the first time she is allowed to sparkle in a bigger supporting role based her ability to deliver a bouncy charm. She sports a hairdo with bobbypins, wears long blue "New Wave"-style flowing dresses, and makes do like a spoiled brat who needs to be pampered. Of course, this Muse is not all she's cracked up to be.
Brooks has great fun lampooning Hollywood and its obsessive nature towards making big bucks on big ideas. The difference is that in an era where gross humor of the "Austin Powers" variety reigns supreme, audiences are not likely to be susceptible to Brooks's low-key charm and natural evolution of character progression, or in this case, aggression. He takes his time, and still has not learned how to end a film with a major bang. Here it ends all too abruptly, as it did in "Real Life," Brooks's first film. But that is a minor carp.
I am still not clear of Brooks's point - a muse inspires a writer to choose the muse within him or herself? Can't he seek that same inspiration from his close friends or family? Unless we are led to believe that writers don't have friends in Hollywood when they are considered washed-up and edgeless.
Despite a few flaws, "The Muse" is amusing and has some showstopping laughs and one-liners along the way. Brooks is a master builder of comic setup and payoff - he knows that the art of comedy is allowing the audience to experience the buildup before the punchline, and boy, the punchlines are smartly written and pungent. Too many comedies rely on gross humor and repetitive gags left and right with no rhyme or reason. Not Brooks, and he has not lost his edge.
For more reviews, check out JERRY AT THE MOVIES at http://buffs.moviething.com/buffs/faust/
E-mail me with questions, concerns or complaints at jerry@movieluver.com or at Faust667@aol.com
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