IN & OUT
RATING: ***1/2 (out of ****)
Paramount / 1:28 / 1997 / PG-13 Cast: Kevin Kline; Joan Cusack; Tom Selleck; Debbie Reynolds; Wilford Brimley; Matt Dillon; Bob Newhart; Gregory Jbara Director: Frank Oz Screenplay: Paul Rudnick
"The Birdcage," 1996's Mike Nichols-directed remake of "La Cage Aux Folles," must be considered as a landmark breakthrough for gay-themed films. For a type of film that is not generally known to be embraced by certain factions of the movie-going public, it earned both soaring audience word-of-mouth and cleaned up at the box office to the tune of $120 million. Now, about a year-and-a-half later, another step is being taken to get the genre into the mainstream with "In & Out," and although it's not as solid or polished as "The Birdcage," it's still an unequivocal success on all sides.
The movie takes place in Greenleaf, Indiana, the kind of conservative, naive midwestern province whose marker boasts that it's "a great big small town." Prominent high school English teacher Howard Brackett (Kevin Kline) entertains his classes by telling students about past pupil Cameron Drake (Matt Dillon), a local hero who made it to Hollywood and is now the odds-on favorite to claim the Best Actor Oscar at the upcoming Academy Awards ceremony. Win Cameron does, and while accepting his award, he bestows his thanks upon Howard. Everything goes like clockwork until Cameron tacks on a two-word final thought to conclude his gratitude: "He's gay."
The phrase is met with gasps by the residents of Greenleaf, all attentively staring at their television sets, their jaws on the floor. But no one is more shocked than Howard himself, who's viewing the ceremony with fiancee Emily (Joan Cusack), his girlfriend of three years. His sexuality is immediately called into question, resulting in rather large problems for both his personal and private life. Complicating matters further is the presence of Peter Malloy (Tom Selleck), an investigative journalist for "Inside Entertainment," a tabloid TV newsmagazine that decides Howard's on-the-air "outing" is a worthy story to follow. Also in a tizzy are his parents (Debbie Reynolds and Wilford Brimley) -- who see his impending marriage as a birthright -- his principal (Bob Newhart) and a few of his male students, who begin to wonder if Howard's interest in them was ever something more than educational.
"In & Out" is written by Paul Rudnick, an openly gay humorist who penned the script to "Addams Family Values" and has a monthly column in "Premiere" under the alter-ego of Libby Gelman-Waxner. His most recent project, an adaptation of his own hit play "Jeffery," was well-recieved by those who had the opportunity to see it but failed as the crossover it was likely intended to be. This project will probably make up for that -- because Rudnick doesn't confine himself to one hot-button issue, he playfully tweaks many of them. "In & Out" sends up sexual orientation, celebrity status, political views and even supermodels, all with Rudnick's hilariously askew viewpoint. What else can be said when Steven Seagal is in the runnings for an Oscar opposite Cameron -- albeit for a film called "A Snowball in Hell"? A few plot elements seem too coincidental, but "In & Out" never quite isolates itself in reality. Only the finale becomes too preachy for its own good.
A sterling cast appears to be having an immense deal of fun with Rudnick's acid-glazed one-liners. This is one of Kevin Kline's best performances since "A Fish Called Wanda;" he deftly balances the satirical side of Howard with the human one, and creates a wonderful, realistic comedic character. Those in supporting roles have great moments as well. Even the usually low-key Selleck manages a surprise sequence with Kline that will have Jerry Falwell reaching for his Tums. If "In & Out" has a scene-stealer, though, it's got to be Joan Cusack. Her interpretation of Emily's Ms. Havisham-esque personality merits serious Oscar consideration, especially in a great, wacky Cusackian moment where she throws her hands up in the air and exclaims, "Is everybody gay? Am I in 'The Twilight Zone'?"
"In & Out" is a prime example of how to do a farce right, from writing to acting to timing to editing. What remains to be seen, though, is how well this type of film will play with the absense of such a nationally accessible star like Robin Williams. Will people go see "In & Out" for its broad comedy and make it a "Birdcage"-sized hit, or be put off by such potentially edgy material and send it the way of "To Wong Foo"? Whatever happens, smart audiences will pack themselves in and not stay out.
© 1997 Jamie Peck E-mail: jpeck1@gl.umbc.edu Visit the Reel Deal Online: http://www.gl.umbc.edu/~jpeck1/
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