[1.5/4.0]
The genre of romantic comedy often gets critical sneers, not because it is inherently weak, but rather because it has mass appeal, and thus films of this type often follow standard formulas in order to appeal to the largest market possible. It is well understood that the greatest number of viewers will be pleased by delivering a happy ending. This film frustratingly follows all the elements of the formula.
Oscar Novak (Matthew Perry) and his partner Peter Steinberg (Oliver Platt) are capable who are looking for the big job that will establish them. They are bidding for a renovation project for tycoon Charles Newman (Dylan McDermott), but they are competing with a more established firm. As a result, they feel they must do everything possible to win the contract. Through a series of misinterpretations, aided by the pairs' competitors, the gay Peter is presumed to be straight and the straight Oscar is presumed to be gay.
The possessive Charles wants to find someone to keep tabs on his artist mistress Amy Post (Neve Campbell), and Oscar appears to be just the man for the job. Charles see no threat in having a gay man associate with his mistress, and Oscar is willing to ascend to Charles demands because he wants to win the contract. Oscar falls for Amy, and she becomes attracted to him also, but Oscar cannot reveal his true feeling without jeopardizing his and Peter's professional future.
The film has one clever dimension, and that is the concept of a straight man pretending to be gay. In real life, it is the reverse that usually happens. By allowing viewers to relate to a character who is forced to pretend to be different from his nature, perhaps some members of the audience will be more compassionate to the plight of homosexuals who are forced to masquerade as heterosexuals.
Perry give an entertaining performance. Although most of Oscar's one-liners are telegraphed, Perry is able to keep the character witty and likable. Pratt gives an understated performance and thankfully does not allow his character degenerate into a typically overwrought stereotypical gay man. The remaining performances were not pleasant to watch. Charles is not written as anything more than an unlikable villain, and McDermott does not extend the character beyond that single dimension. Campbell is particularly ineffective as Amy by constantly making forced efforts to have the character appear cute and quirky, and sacrificing any depth of personality.
One disingenuous aspect is the inexplicable relationship between utterly likable Amy and the irredeemable Charles. Amy explains that it is difficult for her to meet the right man and establish a relationship, which is not an uncommon situation for many single women. Still, it is not understandable how a young, highly attractive, sociable, and energetic woman would not be able to establish a relationship with any man in Chicago, except a lout. She does not even take money or get security from Charles, so the only thing she appears to derive from the relationship is companionship, which would not be hard to find elsewhere.
The most disappointing aspect of the film is the utter lack of originality in the plot. The narrative was designed to please the maximum number of viewers. The ludicrous climax has all characters and subplots merge and resolve themselves to the satisfaction of all involved, which makes the whole narrative hollow. The film aspires to no artistic goals, but will possibly appeal to the mass audience, and there is no reason it will not be successful there.
Marginally recommended. The film achieves what it sets out to do, and as a result it will likely have some amount of commercial success. However, it is successful because it sets very low goals. It has one core idea that is interesting, but that gets buried beneath may layers of familiarity, predictability, and convenience.
(c) 1999 Murali Krishnan The Art House Squatter http://ArtHouseSquatter.com
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