'Lenny'
A retrospective movie review by Walter Frith
Searing black and white photography has always given a sense of authenticity to motion pictures ever since colour was predominantly used from the mid 1960's on. In the 90's we've had 'Schindler's List' (1993) which was filmed with some colour and 'Ed Wood' (1994) which was filmed entirely in black and white. Bob Fosse's black and white masterpiece 'Lenny' is the story of acid tongued comedian Lenny Bruce who died from a drug overdose in the mid 1960's at the age of 39. This 1974 film was made at the right time when Hollywood was coming into a new age of artistic integrity. I think just about every high school kid in the world was introduced to the classic novel 'The Catcher in the Rye' by J.D. Salinger. Speaking for myself it taught me that foul language is an ugly and unappealing act in polite company but it has its place at other times in life. In motion pictures they often deal with real life and the frustrations of characters locked in prison, mental institutions, war and everyday conflict in general who REALLY do talk like that. Foul language is appropriate in film as long as its part of the story and doesn't become too repetitive. The most appropriate use of profanity in my judgment was in 1975's 'One Flew Over the Cuckoo's Nest' and was used most inappropriately in '48 Hours' (1982) and 'Scarface' (1983) in which the use of bad language clearly went over the top.
Dustin Hoffman (who just turned 60 on August 8th) portrays Lenny Bruce who played nightclubs, made record albums, some obscure films and got arrested more than any other performer would today for his stand up comedy. Bruce's act was controversial at the time but his performances often revealed the hypocrisy present in everyday society and since his death he has developed a sense of cult status and the film about that part of his life is definitely worth a look. Hoffman is perfect in the part. He looks comfortable in the role and just as impressive is Valerie Perrine who plays his wife. Bob Fosse's direction is both insightful but somewhat cold which is perfect for a film like this since Bruce's act wasn't exactly filled with warmth.
Hoffman and Perrine have a chemistry that is very natural on screen and the film is told in flashback from the beginning of the picture as she talks about him after his death. Julian Barry's screenplay contains scathing social commentary which will not be entertaining to some but should prove very stimulating to others.
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