Mumford (1999) Loren Dean, Hope Davis, Jason Lee, Alfre Woodard, Mary McDonnell, Pruitt Taylor Vince, Zooey Deschanel, Martin Short, David Paymer, Jane Adams, Dana Ivey, Kevin Tighe, Ted Danson, Jason Ritter, Elisabeth Moss, Robert Stack. Music by James Newton Howard. Directed and written by Lawrence Kasdan. 111 minutes. Rated R, 3.5 stars (out of five stars)
Review by Ed Johnson-Ott, NUVO Newsweekly www.nuvo-online.com Archive reviews at http://us.imdb.com/M/reviews_by?Edward+Johnson-ott To receive reviews by e-mail at no charge, send subscription requests to pbbp24a@prodigy.com
Although he has only been in town for a little over four months, Dr. Mumford already has more patients than the other two therapists in the small, homey village. Mumford has a way about him. He avoids technical jargon, has a surprisingly frank approach and, more than anything, he is great at listening. So great that most clients find it easy to share their deepest secrets with him, even though he is awfully casual in the area of patient confidentiality. What they don't know about Mumford is that the good doctor has a secret of his own. As he eventually tells a skateboarding billionaire who becomes his patient and friend, "I am not now, nor have I ever been, a psychologist."
This gentle comedy shares a few similarities to "The Big Chill," another film from writer/director Lawrence Kasdan. Both are structurally loose, with next to no major conflict. Instead, the focus is on the small personal dramas of a number of nicely-drawn characters. Both productions tend to wander, hopping from one subplot to another. While I generally find meandering of this sort annoying, it proves refreshing in this context, largely due to the overwhelmingly benign nature of the story. With its sweet, easygoing tone, "Mumford" is the cinematic equivalent of a nice lazy stroll on a fall evening with a glass of iced tea in hand.
Loren Dean gives a wonderfully low-key performance as the mysterious young therapist. Although Mumford's name and credentials are phony, his intentions are genuine. He cares so much for his patients that he dares to speak his mind. When shopaholic mother Althea Brockett (Mary McDonnell) complains that "my kids say if I don't get therapy they'll have nothing to do with me," he nods and states "Good kids." When lethargic patient Sofie Crisp (Hope Davis) asks if he believes Chronic Fatigue Syndrome is a genuine illness or just a justification for doing nothing, he replies, "I don't know what's real and what isn't. That's never been my strong suit."
After Sofie leaves, Mumford goes online to read about CFS and comes up with an interesting form of treatment, holding future sessions while the two walk though town. Sofie soon finds herself helping the doc cover a neighbor kid's paper route, as her energy, spirit and affection for the therapist grows ever stronger.
As the film progresses, we learn more about the motivations behind Mumford's big deception, and the revelations add poignancy and clarity to the character. Loren Dean, whose handsome features have a curiously unfinished quality, is an enormously likable actor, aided immeasurably by two exceptional supporting players. As Lily, Mumford's landlady and friend, Alfre Woodard is earthy and beguiling. Although her screen time is limited, she has a presence that lingers even when Lily is away running her neighborhood café.
Jason Lee, so deliciously acidic as Banky in "Chasing Amy," gives the sunniest performance of his career as Skip Skipperton, a billionaire computer mogul who craves friendship so badly that he hires Mumford primarily to be his buddy. Despite his wealth, Skip is still just a lonesome kid (his corporate headquarters has an elaborate skateboard ramp) and Lee is quite effective at blending the character's endearing combination of intelligence and naiveté. The role also gives the former international skateboard champion a chance to show off his considerable skills at the sport.
I wish the film had spent more time with Mumford, Sofie, Lily and Skip, and less on the campaign by a smarmy lawyer (Martin Short) to discredit Mumford. Even though there are some amusing moments with Short and a pair of therapists (David Paymer and Jane Adams), the film could have reached the same conclusion without the subplot.
Lawrence Kasdan directs his story in a down-to-earth fashion, saving visual frills for flashbacks and noirish sequences illustrating the pulp fantasies of nebbish pharmacist Henry Follet (Pruitt Taylor Vince). Kasdan juggles his vignettes fairly well, although they become a bit scattered late in the film. To his credit, an obligatory courtroom scene is short, crisp and avoids the usual clichés. James Newton Howard provides the music, which consistently accents the tone of the story without ever becoming manipulative or overbearing.
Some critics have savaged "Mumford," calling it nothing but an aimless, lackadaisical trifle. While the script might have benefited from more polishing, I like what Kasdan has done here. At one point, Dr. Mumford wonders aloud if any therapy can really cure problems that started in early childhood. Instead, he uses charm, common sense and empathy to help those around him grow and feel just a little better. After watching "Mumford," I not only felt a little better, I was downright happy. This particular trifle turned out to be the right treatment for me.
© 1999 Ed Johnson-Ott
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