SWITCH
A film review by Dan Navarro
Copyright 1996 Dan Navarro
Blake Edwards' "Switch" -- a "Message Movie" for the '90s
Have you ever wished for a modern movie that could deliver a strong, uplifting spiritual message without being boring? Once upon a time, Hollywood could accomplish that feat with ease. But in today's sex-and-sensationalism market, films with spiritual themes are mocked, patronized, or even worse, ignored. That's why Blake Edwards' 1991 comedy "Switch" (Warners-HBO Films) is such a serendipitous find: A bawdy rib-tickler with ribald humor aplenty, yet one that delivers the spiritual goods along with the comedic ones.
To be sure, the fabled Edwards raunch is intact in "Switch". The film is sexy, funny, and cheerfully vulgar, with enough Rabelaisian humor to fuel a Joe Bob Briggs special. But there is a sweetness here also, a frank admission that some things are more important than animal appetites, for example the salvation of one's soul. Against all odds, "Switch" not only delivers that message, but does it in a positive, exhilarating way that rivals the best work of Preston Struges and Frank Capra.
In "Switch"'s opening reel, a smug chauvinist named Steve (Perry King) is murdered by three women who once loved him. Steve's soul descends into purgatory, where he is informed by God that he cannot gain admission to Heaven until he atones for his many offenses against womankind. So Steve is returned to Earth for his second chance, with the admonition that he cannot enter Heaven until he finds one female who likes him. To make things tougher, the womanizing Steve is reincarnated as Amanda (Ellen Barkin), a woman with the sort of dynamite body that has been Steve's lifelong playground.
To this point, you may sense a preachy feminist tale brewing, a cinematic lecture on how women think men ought to behave. But Edwards has other fish to fry. What ensues is a comedic tour-de-force by Barkin, who is splendidly funny as a man trying to cope inside a woman's body. She wobbles shakily on stiletto heels, struggles to sit demurely in short skirts, and suffers a storm of sexual confusions when confronted with Steve's former girlfriends. Even when Amanda is with a genuinely nice guy (Jimmy Smits), she cannot warm up to him, because inside she still thinks like a man.
But the comedy is being played out against a deadly serious bass motif, the struggle for Steve/Amanda's immortal soul. Satan wants it too, and he appears to Amanda with an offer to release her from her tortured existence, if she will consent to join him forever in Hell. Horrified, she refuses. But she knows, and we know too, that her time is growing short; for after weeks of searching, she has failed to find one female who likes her in either incarnation.
In the early 1940s, Preston Sturges' seriocomedy "Sullivan's Travels" told the story of a man who is thrust into a world completely alien to his own, but a world in which he learns truths that would enrich his life forever. Frank Capra's superb "It's a Wonderful Life" (1946) used the same idea in a different way, creating an epiphany that has made that movie a perennial favorite, one of the most loved films of all time.
Unlike the Sturges and Capra heroes, "Switch"'s protagonist is no innocent, but an unrepentant heel suddenly challenged by fate to amend his miserable life. But this is precisely what makes the message even stronger. All souls are equally precious to God, are they not? Because "Switch" is a comedy, it does not seem unfair to disclose that in the end, the redeemed sinner does, indeed, gain admission to Paradise. But the resolution that triggers this happy ending is a wondrous twist, a plot element strikingly outside the standard routine of modern sex comedies. For it is nothing less than a cogent example of what is meant when people speak of the all-conquering love of God.
Edwards' deus ex machina is no heavenly puppetmaster pulling strings, but a benevolent God who helps those who help themselves. Seek and you shall find. To find that point driven home so forcefully in a '90s sex farce like "Switch" is more than surprising, it is miraculous. Sturges and Capra would have approved.
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