THE MAN WHO KNEW TOO LITTLE
A Film Review by James Berardinelli
RATING: *** OUT OF ****
United States, 1997
U.S. Release Date: 11/14/97 (wide)
Running Length: 1:33
MPAA Classification: PG (Sexual innuendo, cartoon violence, mild
profanity)
Theatrical Aspect Ratio: 1.85:1
Cast: Bill Murray, Joanne Whalley, Alfred Molina, Peter Gallagher, Richard Wilson, Geraldine James, John Standing, Anna Chancellor Director: Jon Amiel Producers: Arnon Milchan, Michael Nathanson, Mark Tarlov Screenplay: Robert Farrar and Howard Franklin based on the novel "Watch That Man" by Robert Farrar Cinematography: Robert Stevens Music: Chris Young U.S. Distributor: Warner Brothers
With a title like THE MAN WHO KNEW TOO LITTLE, one might reasonably assume that actor Bill Murray's latest endeavor is a parody of Hitchcock's twice-made film, THE MAN WHO KNEW TOO MUCH. In fact, although the movie takes a few stabs at mocking Hitchcockian plot twists, it's mainly a satire of the James Bond pictures. Unlike many similar productions, this one has a smart, knowing script that understands just how to play up all the tricks and contrivances of the secret agent genre to their best comic effect. It's a breezy, fun film that offers more than a few solid laughs.
Murray plays Wallace Richie, an American from Des Moines who decides to celebrate his birthday by purchasing a plane ticket and flying to see his brother, James (Peter Gallagher), and sister-in-law, Barbara (Anna Chancellor), in London. And, while James is delighted to see Wallace, the visit comes at an inopportune time – he is on the verge of closing a big deal with some German businessmen and he needs an quiet, conservative dinner party without a wild card like Wallace around to disturb things. So, for a birthday present, James gives Wallace an evening's participation in the "Theater of Life," an experimental form of entertainment that allows normal people to act out their fantasies. Only, instead of becoming involved in this "Theater of Life," Wallace accidentally intercepts a phone call intended for a real hit man, and, as a result, he becomes embroiled in a web of espionage, attempted assassinations, and a would-be terrorist attack at the signing of a peace treaty between Russia and England.
It's vitally impossible for the premise of a mistaken identity to sustain an entire motion picture, but THE MAN WHO KNEW TOO LITTLE employs enough variations that, until the very end, proceedings remain surprisingly lively. Of course, it could be argued that the situation in this film is so outrageous that it's as much a "fish out of water" scenario as a "mistaken identity" one. Wallace is, after all an "innocent" American thrown into the midst of a European game of murder, mayhem, and blackmail. There's a little of CROCODILE DUNDEE's charm at work here. It helps that Murray, whose films vary from the good (GROUNDHOG DAY) to the horrible (SCROOGED), is in top form. Throughout the entire film, Wallace is completely oblivious to his danger, and, as a result, Murray gets a chance to develop his own brand of comic-action hero -- a bizarre mixture of Dirty Harry, James Bond, and Austin Powers. The running joke is that everybody mistakes Wallace for one of the best in the spy business because of the ease with which he dispatches his enemies, even though every one of his victories is accidental.
Every secret agent movie, no matter how silly, demands three accessories: a beautiful woman, a nasty villain, and a threatening henchman. THE MAN WHO KNEW TOO LITTLE possesses all of these. Joanne Whalley (the British actress best-known for her role in SCANDAL) is Lori, the femme fatale who becomes involved with Wallace after she mis- identifies him as a hit man intending to kill her. Richard Wilson is absolutely delightful as the very proper Sir Roger, a top-level diplomat who yearns for the return of the Cold War, and who is absolutely terrified that the skilled and dangerous Wallace may confound his plans. Alfred Molina, last seen in a brilliant cameo in BOOGIE NIGHTS, is Boris the Butcher, the killer assigned to eliminate Wallace, but who becomes increasingly impressed by his quarry's amazing skills.
For roughly three-quarter of the film's 93-minute running time, director Jon Amiel (COPYCAT) keeps things rolling along, effectively blending satire with almost every imaginable variation on the mistaken identity plot device. However, since this is essentially a one-joke movie, it runs out of steam before the end credits arrive. The last twenty minutes of THE MAN WHO KNEW TOO LITTLE are a little too repetitious, and even a brief appearance by respected British actress Geraldine James (THE JEWEL IN THE CROWN) in an over-the-top role as a torturer can't restore the film's earlier inventiveness.
Despite the floundering ending, THE MAN WHO KNEW TOO LITTLE still leaves a favorable impression, and the closing scenes are not completely without humor. Murray recovers nicely from his elephantine flop, LARGER THAN LIFE, to essay a character who is both likable and funny. Most of the humor here works – including a mugging where things don't go as planned, a boatload of double-entendres, a unique car chase through a construction zone, and a hilarious bit with some nasal spray. Although THE MAN WHO KNEW TOO LITTLE is less audacious than AUSTIN POWERS and lacks all of the '70s references, it's frequently as enjoyable, if not moreso, and that makes it a worthy choice for a frothy, funny evening.
Copyright 1997 James Berardinelli
- James Berardinelli e-mail: berardin@mail.cybernex.net
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