The Associate (1996)
A film review by James Berardinelli
Copyright 1996 James Berardinelli
RATING (0 TO 10): 5.0 Alternative Scale: ** out of ****
United States, 1996 U.S. Release Date: 10/25/96 (wide) Running Length: 1:53 MPAA Classification: PG-13 (Profanity, mature themes) Theatrical Aspect Ratio: 1.85:1
Cast: Whoopi Goldberg, Dianne Wiest, Tim Daly, Bebe Neuwirth, Eli Wallach, Lainie Kazan, Austin Pendleton, George Martin Director: Donald Petrie Producers: Frederic Golchan, Patrick Markey, Adam Leipzip Screenplay: Nick Thiel based on the film L'ASSOCIE, adapted from the novel EL SOCIO by Jenaro Prieto Cinematography: Alex Nepomniascy Music: Christopher Tyng U.S. Distributor: Hollywood Pictures
For motion pictures that feature gender changes or cross dressing, the chief pleasure is usually watching an actor or actress trying to play someone of the opposite sex. This is true whether it's Tony Curtis and Jack Lemmon in SOME LIKE IT HOT, Dustin Hoffman in TOOTSIE, Robin Williams in MRS. DOUBTFIRE, or Nathan Lane in THE BIRDCAGE. And it's there that THE ASSOCIATE disappoints, because, despite all the hype about Whoopi Goldberg playing a caucasian male, this heavily made-up, masculine alter-ego is given less than ten minutes of total screen time, with the first appearance not occurring until the film is two-thirds over.
The notable absence of Goldberg's Robert Cutty would have been forgivable had the rest of the movie been on a higher level than the one achieved by this trite, familiar presentation. Unfortunately, the banality of the material, coupled with the almost complete absence of worthwhile humor, makes THE ASSOCIATE seem like a half-hearted rip-off of TOOTSIE where the big moment of revelation takes far, far too long to occur.
THE ASSOCIATE comes complete with a message that's unlikely to surprise anyone: racism and sexism are prevalent in the business world, and, no matter how talented a person may be, unless they're a white male, they are unlikely to receive a fair shake. Or, as one of the characters succinctly puts it, "The women's movement didn't make it down to Wall Street." And, while the film gets in a few pointed jabs at the "old boys' network" that does most of the high financial wheeling and dealing, Nick Thiel's script is content with a facile resolution that betrays the film's central theme. Suddenly, everyone previously reluctant is thrilled to be represented by a black woman.
Whoopi Goldberg plays Laurel Ayres, a financial analyst whose promotion at Manchester Investments is usurped by her unscrupulous partner, Frank Peterson (Tim Daly). When she realizes that her sex and race make her future prospects bleak, Laurel quits, intent upon starting her own firm. After putting up an apartment building as collateral for a bank loan, she opens Laurel Ayres Investments, but finds it impossible to lure clients away from Manchester. Then, a former co-worker, Sally Dugan (Dianne Wiest), puts her in touch with a big business tycoon, Donald Fallon (Eli Wallach), who's willing to read one of her proposals. When Fallon finds out that Laurel is a woman, however, he balks, until she reassures him that she has a male partner. The imaginary man's name: Robert Cutty.
Soon, Cutty is the talk of Wall Street, as "his" brilliant moves make Laurel's clients happy -- not to mention rich -- people. Of course, since there isn't really a Cutty, Laurel has to keep putting people off when they want to meet him in the flesh. One of the most difficult to dissuade is the seductive Camille (Bebe Neuwirth), a woman given to wearing sexy negligee under her business suit. And, when the SEC takes an interest in Laurel's partner, she is forced to take drastic action, and, via a top-notch makeup job (that actually looks rather cheesy), transform herself into the mysterious Cutty.
On the acting side, Goldberg is Goldberg, albeit oddly restrained, as if director Donald Petrie didn't want her to be especially funny. Dianne Wiest is charming, but this is far from her best recent performance. Eli Wallach and Bebe Neuwirth are both fun despite being stuck playing stereotypes, and Lainie Kazan has THE ASSOCIATE's plum role -- a tabloid gossip columnist. Unfortunately, Tim Daly is horribly miscast as the duplicitous Frank. Daly's boring performance conveys as much menace as a slice of white bread.
THE ASSOCIATE can boast exactly two funny moments -- a smooch that provokes over-the-top homophobic reactions and a literal example of bathroom humor. The lack of laughter is damaging, because this material isn't sufficiently plausible or entertaining to hold an audience's interest without the particular brand of outrageous comedy that Goldberg is known for. THE ASSOCIATE works fine as a bland, feel-good, big screen sit com, but there's nothing here to get excited about. This is mediocre filler in a fall release schedule that is otherwise full of promise.
- James Berardinelli e-mail: berardin@bc.cybernex.net ReelViews web site: http://www.cybernex.net/~berardin
"We go away from our parents in youth and then we gradually come back to them; and in that moment, we have grown up." -- Ingmar Bergman
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