The Player

Robert Altman gets under my skin. His films are worthy of great respect, yet they are frequently as irritating as they are brilliant. The Player is, as much as Short Cuts, a quintessential Altman film. It is also one of the best roles Tim Robbins has ever enjoyed.

This film is about Hollywood's dark underbelly. The Player eviscerates its subject by twisting justice, political gamesmanship and artistic integrity into new configurations. For non-film-buffs or non-professionals some of the humor may seem too subtle to notice. To film buffs and insiders, the humor is totally over the top.

Robbins plays a young studio exec who is playing the game to win and seems, at least part of the time, to have a conscience. Everything is going along fine for him until he starts receiving threatening calls and letters from a writer whose screenplays he has rejected, and an arch-rival is promoted to a position just above his own. Paranoia and real danger seem in the periphery of every scene in his life, as the make-believe of his industry and the reality of his life begin to blend freely.

Robbins makes a character who could easily have been totally unlikeable somehow sympathetic. Despite his amazing performance, liking the character makes you feel as if you should go stand in a shower and exfoliate for an hour or so. He is supported by excellent supporting work all around. Especially good are the two major women's roles - played by Greta Scachi and Bonnie Sherrow, and veteran camp character Dean Stockwell.

The photography is liberally and amusingly lifted from several classic thrillers, mysteries and dramas, and comes off fresh and original - not at all like a DePalmaesque bit of visual plagiarism. And the pace is brisk.

The Player is probably my favorite Altman film, and it is easily my favorite Tim Robbins film. It's entertaining, intelligent and, well, it has a bad attitude. See it some night when you're angry and you need a good dark laugh.

For anyone who loves movies, "The Player" is a treat.

To start, the screenplay is first-rate. The plot that holds the entire film together is superbly crafted; very few films leave you guessing right to the end as this one does. The finer details also shine through, such as the sales pitch scenes, which are inarguably classic (i.e. "The Graduate II").

I loved the attention to detail in "The Player". One can find a new detail every time one watches the film. For example, the opening sequence is a very long, continuous shot during which characters are discussing Hitchcock's "Rope", which appears to be a movie filmed all in one continuous shot. The sheer number of cameos in "The Player" makes it difficult to list all of them, so I won't even try.

"The Player" is one film that sets out to skewer Hollywood and actually succeeds. One only has to view the Bruce Willis/Julia Roberts sequence in order to understand this. My hat goes off to Robert Altman for making another excellent film.

"Players only love you when they're playing." --Stevie Nicks

Griffin Mill, whose name has a kind of ersatz Hollywood feel to it (cf., D. W. Griffith/Cecil B. De Mille), is not a player with hearts so much as a player with dreams. He is a young and powerful film exec who hears thousands of movie pitches a year, but can only buy twelve. So he must do a lot of dissembling, not to mention outright lying, along with saying "We'll get back to you," etc. This is what he especially must say to writers. And sometimes they hold a grudge. In this case one of the rejected writers begins to stalk Griffin Mill and send him threatening postcards. And so the plot begins.

Tim Robbins, in a creative tour de force, plays Griffin Mill with such a delightful, ironic charm that we cannot help but identify with him even as he violates several layers of human trust. The script by Michael Tolkin smoothly combines the best elements of a thriller with a kind of Terry Southern satirical intent that keeps us totally engrossed throughout. The direction by Robert Altman is full of inside Hollywood jokes and remembrances, including cameos by dozens of Hollywood stars, some of whom get to say nasty things about producers. The scenes are well-planned and then infused with witty asides. The tampon scene at police headquarters with Whoopi Goldberg is an hilarious case in point, while the sequence of scenes from Greta Scacchi's character's house to the manslaughter scene outside the Pasadena Rialto, is wonderfully conceived and nicely cut. Also memorable is the all black and white dress dinner scene in which Cher is the only person in red, a kind of mean or silly joke, depending on your perspective. During the same scene Mill gives a little speech in which he avers that "movies are art," a statement that amounts to sardonic irony since, as a greedy producer, he cares nothing at all about art, but only about box office success. His words also form a kind of dramatic irony when one realizes that this movie itself really is a work of art. As Altman observes in a trailing clip, the movie "becomes itself." The Machiavellian ending illustrates this with an almost miraculous dovetailing. This is the kind of script that turns most screen writers Kermit-green with envy.

Incidentally, Joe Gillis, the Hollywood writer played by William Holden in Sunset Boulevard--personifying all unsuccessful screen writers--actually does call during the movie, but Mill doesn't recognize the name and has to be told he is being put on, further revealing the narrow confines of his character.

In short, this is a wonderfully clever, diabolically cynical satire of Hollywood and the movie industry. This is one of those movies that, if you care anything at all about film, you must see. Period. It is especially delicious if you hate Hollywood. It is also one of the best movies ever made about Hollywood, to be ranked up there with A Star is Born (1937) (Janet Gaynor, Fredric March); Sunset Boulevard (1950); A Star is Born (1954) (Judy Garland, James Mason); and Postcards from the Edge (1990).

I must add that in the annals of film, this has to go down as one of the best Hollywood movies not to win a single Academy Award, although it was nominated for three: Best Director, Best Adapted Screenplay and Best Editing. I suspect the Academy felt that the satire hit a little too close to home for comfort.

(Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon!)

Griffin Mill is a young hotshot producer who everyone bows and scrapes to because he has the powers to get a movie made. However he starts getting bugged by a dissatisfied writer which leads to all kinds of deadly intrigue.

Just when I thought Altman had gone totally off-the-boil he suddenly jumps back with his most perfectly realised film. While hardly unapplauded on its release (and in short retrospect) this is a movie that will be regarded by future generations as a classic. It is so smart, sassy, funny and has a beginning, a middle and an end. The kind of tragicomedy that gets the best of both worlds.

Robbins is perfect as the lead. He doesn't do much or emote much. As Robert De Niro once said "most people don't show their emotions, they hide them." Occasionally we get behind the shield of human indifference, but only occasionally. We don't like him much - nor should we - but he is not so bad that we can't bare him. Indeed he is merely someone whose selfish world gets out of control. Whoopie Goldberg makes the most of her unlikely casting too.

The appearance of stars in guest parts adds a bit of icing, but that is all. I loved Altman's directions to the stars who had to play walk-ons (who else could have got that?) "remember, you are responsible for who you are on screen. You are playing yourselves!"

The sexy Scacchi plays the love interest with great skill. While just a muse she is a far better actress than most and this shows in her short screen time. Shame she hasn't more involvement in the main plot.

Like breaking a car down in to its competent parts, taking The Player apart only leaves an ugly mess of oil and metal. Together it drives a tight little film that has insight, drama and comedy. I would hesitate to call this a masterpiece, but it is a mini-masterpiece that however farfetched never reaches the point of being totally unbelievable.

The pay off at the end is one of the best belly-laughs any film buff could ever get. I doubt I will see a better film about modern day Hollywood in my lifetime. Like Pulp Fiction, a film that is as enjoyable the second time of viewing as the first.

I am surprised that the IMDb trivia section is so short for this film. After all, it's jammed full of references to earlier films and is full of actor cameos. Because of this, it's clearly a film that bears re- watching in order to catch the many small details many would often miss. Also, because this film is ultra-famous, already has many reviews and is beloved by many, I'll keep my review relatively short. Suffice to say that it's a film lovers and insiders dream movie.

The film begins with an insanely difficult scene that sets the stage for the film. It's all in one long take where the camera moves all over a wide area on a film studio lot. But instead of being intimate, it feels almost like the viewer is hiding and peering at the many different things occurring simultaneously. This is brilliant, as the film does have a real voyeuristic quality...with many shots that are not traditionally framed but are as if you are watching in the near distance.

What follows is a very dark anti-fairy tale set in modern Hollywood. Instead of the usual story of a person working hard and doing good and ultimately being rewarded, this is pretty much the opposite. With a total jerk-face (Tim Robbins) screwing people over and even killing someone...and the consequences of this. It's obviously meant as an attack on many Hollywood types--the users, the superficial and the vaguely talented. Overall, a superb film that works very well due to wonderful direction and a black hole-dark script filled with cynicism.