THE FAN
A film review by James Berardinelli
Copyright 1996 James Berardinelli
RATING (0 TO 10): 2.5 Alternative Scale: * out of ****
United States, 1996 U.S. Release Date: 8/16/96 (wide) Running Length: 1:55 MPAA Classification: R (Profanity, violence) Theatrical Aspect Ratio: 2.35:1
Cast: Robert De Niro, Wesley Snipes, John Leguizamo, Ellen Barkin, Benicio Del Toro, Patti D'Arbanville-Quinn, Andrew J. Ferchland, John Kruk Director: Tony Scott Producer: Wendy Finerman Screenplay: Phoef Sutton based on the novel by Peter Abrahams Cinematography: Dariusz Wolski Music: Hans Zimmer U.S. Distributor: TriStar Pictures
Travis Bickle (TAXI DRIVER). Rupert Pupkin (THE KING OF COMEDY). Max Cady (CAPE FEAR). Dwight Hansen (THIS BOY'S LIFE). These are a few of the names from the gallery of psychos essayed by celebrated actor Robert De Niro during his thirty-year career. And, though each of these characters is unique, there exists at least one common element amongst them (other than the obvious) -- they are all three-dimensional creations, individuals who attain a terrifyingly believable life. The credit for this goes to both De Niro and to the writers and directors who sketched the outlines that he so ably filled in.
Therefore, given De Niro's track record, it was reasonable to expect good things from him in THE FAN, director Tony Scott's followup to last year's blockbuster, CRIMSON TIDE. In fact, with De Niro playing a sociopathic baseball nut, one might be forgiven mistakenly believing that this movie had potential. Unfortunately, whatever promise the idea held was lost early in the film making process. The version of THE FAN to reach movie screens is as unwatchable a thriller as has come to theaters this year.
De Niro, in fact, is part of THE FAN's problem. Mugging it up for the camera, he gives a tasteless, uninteresting, caricature-like portrayal. The actor, who's usually a delight to watch, turns in one of his worst performances as the troubled Gil Renard, a recently fired hunting-knife salesman with an unhealthy passion for Giants baseball. Gil latches onto the Giants' latest free-agent acquisition, superstar centerfielder Bobby Rayburn (Wesley Snipes, doing a credible Barry Bonds impersonation), who signed a multiyear, $40 million contract to play with the San Francisco team. Gil, whose personal life is a mess (he's divorced and his ex-wife has taken out a restraining order on him), becomes fixated on Bobby, and it doesn't take him long to cross the line from obsessive fan to stalker.
After the 1994 strike, one could make the case that baseball no longer deserves anyone's respect, but it's hard to argue that it merits the ghastly treatment handed out by Tony Scott. THE FAN treats everyone associated with the game -- fans, announcers, and players -- with contempt. Not only is the script superficially nasty, but the game sequences are poorly-filmed, with quick edits used to disguise the fact that hardly anyone involved (with the possible exception of ex-Major Leaguer John Kruk) can actually swing the bat. Baseball credibility is thrown out the window, especially during the impossible-to-swallow climactic struggle, which (believe it or not) echoes a similar scene from THE NAKED GUN.
Actually, I might have been able to forgive THE FAN its liberties if it had been remotely enjoyable. But it's not -- the film replaces tension and excitement with reel after reel of tedium. The script spends too much time with cardboard characters like Bobby and Gil, while introducing others like sports radio host Jewel Stern (Ellen Barkin) who serve no purpose whatsoever. The entire first hour is devoted to showing what is immediately obvious: that Gil is a borderline nutcase with a volatile temper and a love of knives.
Something must have gotten lost in the translation from book to movie. Phoef Sutton's script is based on a novel by Peter Abrahams, and it has all the characteristics of a hatchet job. THE FAN is disjointed, poorly paced, and, at times, completely incoherent. While Sutton has to bear some of the blame, the lion's share goes to Tony Scott, who has badly mishandled every aspect of this film. The director appears to have backslided into his unpromising BEVERLY HILLS COP II phase.
Aside from Snipes' well-tuned performance and a few clever scenes detailing superstar marketing, this picture is a veritable wasteland. Even watching the horror show that the real Giants have become during the 1996 season is more fun than this. The advertising slogan may be "fear strikes soon", but, when it comes to THE FAN, fear, like the movie, strikes out.
- James Berardinelli e-mail: berardin@bc.cybernex.net ReelViews web site: http://www.cybernex.net/~berardin
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