The Truman Show

  • Title:  The Truman Show
  • Director:  Peter Weir
  • Date:  1998
  • Studio:  Paramount Pictures
  • Genre:  Drama
  • Cast:  Jim Carrey, Ed Harris, Laura Linney, Natascha McElhone
  • Format:   Color, Widescreen
  • DVD Format:  R1, NTSC

“Seahaven is the way the world should be.” – Christof

“Cue the sun.” – Christof

Imagine if your whole world – everyone you knew, every place you’d ever seen, every memory you had, was, in a sense – not real. Your very life had been manipulated from before your birth, and that all of this was completely unknown to you. That’s the theme of The Truman Show, one of the most innovative and unusual films ever made.

Truman Burbank has an almost perfect life, living in the small island community of Seahaven. His wife is a nurse, and he works selling insurance. Truman sometimes dreams of going off on an adventure, or of being an explorer, but his daily life is quite dull, though perfect.

Then one day, as he’s about to get into his car to drive to work, a studio light crashes to the ground, nearly hitting his car. Truman thinks it’s strange, until the radio explains a plane flying over Seahaven began shedding parts. Yet, slowly, but surely, more and more strange things begin happening. Truman remembers a girl he was interested in, Lauren, the girl with a red sweater and a button that said, “How is it going to end?” but before he could really pursue a relationship with her, another girl, a cute blonde is literally dropped in his lap. Truman meets Lauren again at the library – and they try to run off together, but she is picked up and dragged away by her “father”.

As we know from scenes in Truman’s present – he marries the blonde, Meryl. But in his present, another encounter is harder to explain – he sees his father on the street. His father had died years ago, falling overboard and drowning when their sailboat was caught in a storm. Truman is disturbed by the encounter, and doesn’t quite buy the explanations offered by his mother and his wife. He meets up with his best friend, Marlin, and they have a heart-to-heart. Yet we see the Director, Christof, feeding lines to Marlin over a hidden earpiece. As the conversation concludes, a man walks out of the fog and smoke. It’s Truman’s lost father. But we see this momentous event through the eyes of the Director and his technical aides – as he orders the fog machine to back off, orders the arrangement of shots and cameras, and even has the music fade up.

Then we see the title sequence of “The Truman Show” which explains that Truman was born on camera, he was legally adopted by a Corporation, that millions had watched his first step and his “stolen kiss” (with Lauren), etc. Next is a cut to a talk show, “Tru Talk”, and an interview with Christof, the Director. Truman’s entire life is a TV show – aired 24 hours a day, 7 days a week, without interruption or advertisements. It’s revenue comes from product placement – and everything on the show is for sale in “The Truman Catalog”. The rest of the cast are actors, paid to interact with Truman. The Director manipulates everything to create “good television”.

Yet, despite the return of his father, Truman continues to question, continues to push.

He walks into a travel agency – an agency with posters, not of beautiful island paradises, but of planes hit by lightening, and of dire warnings of other Bad Things that can happen to the unwary traveller. When Truman tries to buy a plane ticket, he’s told there’s nothing for two months.

Next, he kidnaps his wife and spontaneously drives off. He gets her to drive from the passenger seat with one hand on the steering wheel of the car over a bridge over water to the “mainland”, something Truman himself is afraid to do. As they continue to drive, they hear sirens – and find an accident at a Nuclear Plant, with men in hazmat and fire-proof suits. A uniformed police officer tells them they can’t continue – but the cop makes a mistake when Truman agrees to turn around and says, “You’re welcome, Truman.” Truman tries again to escape, but he’s captured.

There’s a clip of Christof explaining that Meryl will leave Truman and a new “love interest” introduced. And that he’s “determined to have the first on-air conception” on the show.

But Truman has other ideas. He pretends to go back to his old self, continues to sell insurance, and “acts normal”. But one night, he sneaks in to his basement, creates a sleeping dummy with a recording of snores, and hides in a closet, then breaks out through a hole. This is discovered by the Director, who’s in his control room on the moon. First, Marlin is sent to find out if Truman is really sleeping (he discovers the deception). Then the entire cast and all extras are sent to search for Truman, they step in a long line, perfectly in time, arms linked, to a frightening sound reminiscent of goose-stepping. The group even has barking dogs. Having already ceased transmission, Christof is desperate to find his star. He uses the moon as a searchlight. Finally, even though it’s too early, he turns on the sun.

Christof realizes the one place he hasn’t searched is the sea. He finds Truman on a sailing boat, and begins transmitting pictures again. The audience begins to root for Truman’s escape, especially Lauren who leads some sort of protest group that wants Truman freed. As Truman tries to make his escape, Christof orders a storm. When his orders to stop Truman escalate to killing him by capsizing the boat – the other directors and technicians finally protest and refuse. Christof increases the storm and Truman falls off the boat and into the water. Christof turns off the storm and Truman, not drowned, coughs up the water and makes it back onto the boat. At this point, Christof says he wants to talk to Truman.

Christof’s voice appears to come from a break in the clouds.

“Who are you?” asks Truman.

“I am the creator of a television show that gives hope, and joy, and inspiration to millions,” replies Christof.

“Who am I?” asks Truman.

“You are the star,” replies Christof.

Christof then tells Truman he has watched him since he was born, saw him take his first step, watched him cut his first tooth. Truman still is determined to leave Christof’s giant television studio. He’s awakened when his boat hits the wall of the studio, and he walks, apparently on water, around the edge, until he finds a stair case. Finally, Truman climbs the stairs and exits the door. Christof orders “Cease Transmission”.

But the meta of the film is carried over into the credits which are listed in three parts: Truman’s World, Christof’s World, and the Viewers. Only the characters in Truman’s World have names – other than Christof and “Chloe” in Christof’s world characters are listed by their job description, “Control Room Director”, “Network Exceutive”, “Keyboard Artist”, etc. Similarly, the audience members are listed by descriptions, “bar waitress”, “Man in Bathtub”, “Japanese Family”, etc.

The Truman Show is a deep and fascinating film. Originally almost dismissed as a commentary on the “new” phenomena of Reality Television, it’s actually a deeply philosophical film. The Director is God – he’s created Truman’s entire world. He controls all of Truman’s encounters. If an actor becomes difficult or complains – they are removed from the show. New characters are introduced – giving the Director the show he wants – creating situations that Truman should respond to in predictable ways, such as dropping Meryl in his lap. Even what the actors say is at times scripted or suggested by Christof – such as Meryl insipid product placement lines (which she always delivers badly) or in a more serious scene, Christof feeding lines to Marlin to give to Truman. When the reality starts to break down, Truman’s search to find Lauren, to escape to Fiji, is really an attempt to understand his world and discover who he really is. It’s not accidental at all, that when Christof first speaks to Truman, it’s a voice, from the sun, peaking out from clouds, after a storm. That’s  a very Christian image. Though the entire story is of Truman’s fight to push the boundaries of his world and control his own fate, rather than stay safe, in a world created for him. Christof loses his battle, when Truman wins.

Besides the Christian implications, there’s another whole level to the film – the meta implications. Although the first half of the film stays in Truman’s world, but often with lens hazing or a curved perspective (like the really old shots in films that indicated a character was looking through binoculars or a telescope), once he meets his father, we are introduced to Christof’s World. We hear Christof defending his perspective. We hear Lauren, an actress named Sylvia, attack Christof on the “Tru Talk” call-in talk show program. And we see the audience watching the show and making comments – and eventually rooting for Truman’s escape. It’s a film, about a fictional television show, that shows us the director making that show, and the audience watching that show. It’s just so meta it practically defines the term.

And in many ways, this seventeen-year-old film predicts in a non-specific way, our world of constant Social Media interaction. The give-and-take and interaction between viewers and makers of film and television via websites, social media, Live Tweet Events, etc. The creating of profiles to emphasize what we want others to know about us and de-emphasize or even hide what we don’t want others to know about us. The putting on a friendly face, that can be an act as much as Truman’s wife and best friend act a certain way towards him. Though, to it’s credit, Truman’s world isn’t a totally paranoid or scary one. And in our world, Social Media does much good – giving voice to the voiceless, and in times of crisis turning us all into citizen journalists.

The Truman Show is an underrated classic and it is a film that really must be seen. I highly, highly, highly recommend this movie.

Recommendation: See it!
Rating: 5 out of 5 Stars
Next Film: UHF

Eternal Sunshine of the Spotless Mind

  • Title:  Eternal Sunshine of the Spotless Mind
  • Director:  Michel Gondry
  • Date:  2004
  • Studio:  Focus Features
  • Genre:  Romance, SF, Drama
  • Cast:  Jim Carrey, Kate Winslet, Elijah Wood, Mark Ruffalo, Kirsten Dunst, Tom Wilkinson
  • Format:  Color, Widescreen
  • DVD Format:  R1, NTSC

“My embarrassing admission is that I really like that you’re nice. Right now, I mean, I can’t tell from one moment to the next what I’m going to like, but, right now, I’m glad you are.” – Clementine

“Technically speaking, the procedure is brain damage, but its, its on a par with a night of heavy drinking.” – Dr. Howard Mierzwiak 

Eternal Sunshine of the Spotless Mind  is not your typical romantic comedy – it isn’t even a typical film in the rarer genre of romantic tragedy. The film starts with Joel Barish (Jim Carrey) waking up, heading off to work, then playing hooky and taking the train to a beachside community in the middle of Winter, to be precise, on Valentine’s Day.  He runs into a strange girl with bright blue hair, named Clementine, and the two start to hit it off. However, the film then diverges off into unusual and different territory. Joel discovers that Clementine, his girlfriend of two years, had him erased from her memory. Joel, in a pique of anger then decides to erase her from his memory.

However, the film doesn’t tell this story linearly. We see Joel going to the Lucuna Clinic to have Clementine erased. He explains why he wants to forget her. He looks at objects from their relationship (mementos, gifts, etc) and thinks about his memories of her while undergoing CAT Scans to map his memory. That night he takes a sleeping pill. Three people from the Lucuna Clinic arrive at his apartment to erase his memory – Stan, Patrick, and Mary. However, they do not act like medical professionals, but rather like irresponsible party guys (and gal). While Stan’s laptop computer performs the procedure – they drink, and do drugs. Patrick leaves pretty quickly so he can see his girlfriend – Clementine. Stan and Mary get even more drunk and stoned, and before long Mary’s dancing on Joel’s bed in her underwear.  Eventually, both Stan and Mary are dancing in their underwear.

Meanwhile, in a series of flashbacks, as Joel is undergoing the procedure – he remembers the times, the moments, he’s spent with Clementine. He eventually realizes just how good some of those moments were – and tries to keep them. But the procedure works too well, and the audience sees scenes disappear piece by piece, or fade out of existence, or break apart in a pixelated fashion, or turn dark as if the lights were being turned off. The unusual effects heighten the strangeness of the film, but they also visually express Joel losing his memories. As the memories disappear, and Joel gets to his good memories with Clem, he realizes he doesn’t want to forget. He and Clem try to outsmart the procedure by hiding in Joel’s childhood memories – including some of his earliest memories.

At this point, the film flashes back to Joel having the procedure done – where Stan freaks out because “he’s off the map.” Joel calls in Howard (Dr. Mierzwiak) who gets the procedure back on track. However, Mary – who’s still stoned, hits on Howard and even kisses him. Outside, Howard’s wife watches. Howard finds out about this – as Mary tries to explain it was meaningless – Howard’s wife tells her that she and Howard did have an affair, but he performed the procedure on her to make her forget.

Eventually, all of Joel’s memories of Clementine disappear – but as he gets to the memory of the first time they met, a time when Joel walked out, Clem suggests he change what happened and make a new memory. We then flash-forward to the beginning of the film and Joel’s compulsion to go to the beach in the middle of Winter, on Valentine’s Day – where he meets Clem.

But this is not the end of the story. Because as Clem heads into her apt to pick up her toothbrush so she can spend the night with Joel (whom she’s “just met”) she find a letter from Mary, with a copy of her file and a tape of her conversation with the Doctor about why she wants to forget Joel. She starts the tape playing in the cassette player of his car – and he freaks out, accusing her of messing with him. But when he gets home, he find another letter and cassette from Mary for him. He starts to listen to the tape – when Clem arrives. Clem gets so angry at the things he says, she leaves – but Joel pursues her. In the hallway, Clem says they should forget it – bringing up the reasons why their relationship won’t work again. But Joel seems to think they should try anyway.

Eternal Sunshine of the Spotless Mind  is a forerunner of films like Inception – especially in terms of the effects used to show Joel’s memories being destroyed. It has a very non-linear style – I’ve re-organized the story more linearly in this review, but when you are watching the film it slips easily back and forth between the “present” as Stan, Patrick, Mary, and later Howard work on Joel in his bedroom – and Joel’s scattered memories of his relationship with Clementine. The story is gradually built up in pieces until the audience understands exactly what it going on – it’s a very intelligent film. It asks intelligent questions, If you could completely forget someone – wipe them from your mind, would you? And, there are implications too – What if such a procedure was done without your permission? (The film gets into that briefly – when it’s made clear that although Howard pressured her into it – Mary did give verbal permission for the procedure.) But the film is also about the way relationships twist over time – although Joel’s early (meaning late – or most recent) memories of Clem are of fights and disagreements – his late (meaning earliest) memories are sweet and lovely – and those memories he fights to keep but fails. There are other tiny bits as well – the woman in the clinic with a dog bowl, leash, and such for example. Mary arguing with a woman on the phone that she can’t have the procedure done three times (in a short period is implied). And even the idea of destiny in a relationship.

Jim Carrey is very reserved and quiet as Joel. Even when he and Clem are fighting – he barely raises his voice. He’s very closed off as well. It’s an understated performance, the complete opposite of Carrey’s normal comedic roles – and it shows what a truly great actor he is. Kate Winslet plays Clementine as a free spirit but a bit dumb. Elijah Wood as Patrick is slimy as one of the med techs working on Joel – he admits to Stan he fell in love with Clem when she he erased her mind – and he even stole her panties. Patrick also used Joel’s journal and other mementos of his relationship with Clem (gifts, jewelry, etc) in an attempt to win her over.

Eternal Sunshine of the Spotless Mind  is a excellent and original film and I recommend it.

Recommendation:  See it!
Rating: 4 out of 5 Stars
Next Film:  Justice League:  Throne of Atlantis

The Majestic

  • Title:  The Majestic
  • Director:  Frank Darabont
  • Date:  2001
  • Studio:  Warner Brothers Pictures
  • Genre:  Drama
  • Cast:  Jim Carrey, Martin Landau, David Ogden Stiers, Laurie Holden, James Whitmore, Bruce Campbell
  • Format:  Widescreen, Color
  • DVD Format:  R1, NTSC

“Right, no Blacklist, The Studio just doesn’t want to know you.  Not with this thing hanging over your head.” — Peter’s agent

“Once this place was like a palace…  that’s why we called it The Majestic.  Any man, woman, child could walk right in, here they’d be, here we’d be, ‘Yes, sir; Yes, Ma’am, Enjoy the show.’  And in they’d come, entering the palace, like in a dream, like in heaven.  Maybe you had problems and worries out there but once you entered those doors, they didn’t matter any more and do you know why?  Chaplin, that’s why, and Keaton, and Lloyd, Garbo, Gable, Lombard, Jimmy Stewart, Jimmy Cagney, Fred and Ginger!  They were gods, and they lived up there.  That was Olympus!”  — Harry

“The Declaration of Independence, the Constitution, they’re all just piece of paper with signatures on them.  And you know what a piece of paper with a signature on it is?  A contract.  Something that can be re-negotiated at any time.  Just so happens the House Un-American Activities Committee is renegotiating the contract this time.” –Agent.

I never was much of a fan of Jim Carrey — because he was known for his very broad, over-the-top, wild comedies, and that kind of comedy just wasn’t my thing.  But The Majestic is a drama, not a comedy and it is brilliant.  I thought Martin Landau gave an Oscar-worthy performance in this film, and Carrey was equally brilliant.  His speech at the end of the film to the Committee is reminiscent of the clips I’ve seen of Jimmy Stewart in Mr. Smith Goes to Washington.  Carrey is truly brilliant in this film and makes you believe he is the character he’s playing – which is what acting is all about, really.

The film begins with just voices, people having a discussion, then we see Carrey in a medium close up. He looks bored, and slightly annoyed.  He’s sitting in on an executive meeting with about his latest film, “Ashes to Ashes”.  Carrey is Peter Appleton, a writer, trying to make his way into Hollywood Pictures. He’s had some success, having written a screen play for a B picture called, “Sand Pirates of the Sahara”, which has been produced and released.  He has a girl, a job with the studio, and he thinks of L.A. as “his town”.  He’s trying to break into a pictures with “Ashes to Ashes”, and is afraid to rock the boat when the studio executives propose all sorts of ludicrous changes.  But then it all comes crashing down, when he’s accused of being a communist by the House Un-American Activities Committee.  Peter’s as non-political as they come, and simply doesn’t care about any sort of politics.  He’s totally bewildered by the entire accusation.  The studio drops him like a hot potato, shelving “Ashes to Ashes”, his girl dumps him, and the bottom’s dropped out of his world, so Peter goes to a bar and tells the bartender (and his stuffed monkey toy) all this, while getting drunk.  He leaves the bar, intending to drive up the coast, just to clear his head.

In short, Peter has an accident on the drive and wakes up on a beach.  He’s found by an old man and a dog, who help him up, and take him to the nearest town.  The accident has caused Peter to lose his memory, yet everyone in the town says he looks familiar.  After buying him a hot meal at the local diner, the local doctor, Doc Stanton, comes in (David Ogden Steirs) and takes him to his office to look after him.  He fixes up Peter’s head wound, and gives him a clean shirt to wear, since Peter’s is pretty much wrecked.

Harry Trimble (Martin Landau) meanwhile, had barely seen Peter in the diner, but he knows who he is — it’s his son, Luke, who went missing in the war (World War II).  Pretty soon, everyone has declared that it he is Luke, and treats him like a hero.  And, even though Peter has no memory of the town, it’s people, or of being Luke, he sort of rolls with it.  Not out of malice, or an intent to deceive anyone, but because it just seems easy, and comfortable, and he’s enjoying how everyone cares about him and treats him as a hero.  He meets the doctor’s daughter, Adelle, who was Luke’s high school sweetheart, and they begin to fall for each other.

Meanwhile, Harry’s taken Luke (Peter) in, showing him his apartment above the local movie theater.  The theater is closed now, and run down.  It had been the dream of Harry, his wife, and Luke, but with Luke going missing in the war, and the death of his wife shortly thereafter, Harry just didn’t have the heart to continue with the business and let the theater go into disrepair.

The town where Luke and company live is very small, but lost 62 boys in the war, 17 at Normandy alone. The return of Luke Trimble, bouys up the town, and most of people are very happy to have Luke back. Things seem to be going well for Peter, now Luke.  At the welcome home party for Luke, Doc Stanton points out to Harry, that if it is Luke — where was he for nine years?  He must have been injured, shipped home, cared for.  He could have a whole ‘nother life, and a family who loves him who are looking for him. Harry acknowledges the possibility, but he is so happy to have his son back, he really doesn’t care.

Harry then proposes to Luke that they clean-up, restore, and re-open The Majestic.  Luke is hesitant at first, especially after he sees the amount of work involved and the cost of supplies needed.  However, they go to the town council and ask the mayor for help.  Before long, half the town is helping Luke and his father, Harry, to clean and fix up the Majestic.  The montage of restoring the old theater is very well done.

They re-open and have a rousing success as everyone in town comes to see the weekly films.  Harry’s happy, and everyone is doing well.  Until, the film, “Sand Pirates of  the Sahara” is shown.  Peter watches the film from the side of the full theater, and starts reciting the lines, then it dawns on him — he realizes who he really is.  But before he can do anything, the film stops running.  Emmett, one of the small staff of The Majestic, and someone who’s like family to the Trimbles’, says something’s wrong.  They run upstairs to the projection booth, and find Harry  on the ground.  He’s had a heart attack.

The Doc Stanton is called, and he does what he can, but Harry is dying.  Luke/Peter says goodbye to Harry, and although tempted to tell him who he is, doesn’t.  At the funeral, the FBI (whom the film had cut to a couple of times), representatives of the House Un-American Activities Committee, show up and serves a subpoena on Peter Appleton (aka ‘Luke’).  The entire town turns against Peter, even Adelle, though later she changes her mind.

In the small town of  Lawson, where he’d been living, his agent convinces him to read a prepared statement and a list of  names to the committee.

“All you do is show up, read the statement, salute the flag and everybody goes home happy.”  — Agent
“And I won’t be a communist anymore?” — Peter
“That’s the idea.” — Agent
“Doesn’t matter that I never was one?” 

Peter is hesitant and unsure of  himself.

Peter speaks to Adelle, who tries to convince him that he shouldn’t just cave in and admit doing something he didn’t do to get his life in Hollywood back.  Peter admits he’s basically a coward, that he was at Fort Dix during the war and was happy to not go overseas because he didn’t want to die like the boys of Lawson, especially Luke.

On the train back to Hollywood, Peter opens a gift from Adelle.  It’s a red-leather hard-bound copy of the Constitution, inscribed to Adelle from Luke.  Tucked inside is a letter from Luke, which includes the line, “When bullies rise up, the rest of us have to beat them back again – whatever the cost.” (read by Matt Damon).  Peter gets to the committee hearing, and the room is filled with photographers.  The committee begins to question Peter, and his advisors complain that Peter was supposed to simply read the statement.  However, Peter stands up, and finally, stops reading the statement he had started to read. Instead, in a bold act of courage, he reads the First Amendment of the Constitution.  He talks about Luke, and his “Big America”, as opposed to the “small America”, of the Committee.

“That’s the First Amendment, Mr. Chairman, it’s everything we’re about — if only we’d live up to it.  It’s the most important part of the contract every citizen has with this country, even though these contracts, The Constitution, and the Bill of Rights, even though they are just pieces of paper with signatures on them they are the only contracts we have that are not subject to re-negotiation, not by you, Mr. Chairman, not by you, Mr. Clyde, not by anyone, ever!  Too many people have paid for this contract in blood.”  He holds up the copy of  the Constitution in his hand.

He also confronts the Committee with Luke’s medal of  honor.  Then he walks out, despite the Committee telling him he’s not dismissed.  The room erupts in applause.  He and his agent talk in a car, and Peter’s convinced he’s going to prison.  The agent tells him, it’s all about “naming names”.  Peter says he didn’t give the committee any names.  The agent mentions the girl Peter mentioned; they’d gone to some meeting in college, the “Bread Instead of Bullets club” — a club now retroactively declared communist. Peter is shocked, he certainly didn’t mean to get anyone else in trouble.  And he had no idea she was a television producer on CBS.  However the agent points out, she’s the one who gave the Committee Peter’s name.

Peter goes back to his old life, and the film cycles back to the beginning, and Peter sitting in the boring meeting.  When the off-camera voices ask him what he thinks — he ends up walking out.  He sends a letter to Adelle and heads back to Lawson.  When he gets there, the entire town, who had heard his impassioned speech on the radio, gives him a hero’s welcome.  That he marries Adelle and raises children with her, while running the Majestic, is a story told through photos on the piano (we’d seen the piano and photos before during the picture).

The film is magnificent — Peter finally deciding to stand up for something and sticking it to the HUAC is brilliantly played, and Jim Carrey’s performance in that scene is particularly good.  Though it’s his confrontation with Adelle, where he admits to being a coward by the standards of the time, that’s probably the best bit in a film that’s full of “good bits”.  This is also a brave film, considering it came out in 2001, when a bully called Bush and the Republican party were trampling all over the civil rights of everyday Americans — limiting free speech, freedom of religion and even the right to read what you want or listen to the music you want.  That Conservative attack continues (libraries are being shut, books taken out of school libraries or the school libraries closed completely, as well as public ones; there’s been an assault on public radio and TV, and anyone who’s not a Christian Fundamentalist like Bush is considered a second-class citizen, or not a citizen at all but someone who should be kicked out of  the country — or what do you think “America is a “christian” country means?).  Bush also made it a crime for anyone to publicly criticize him under the so-called Patriot Act, and made travel difficult, and foreign travel nearly impossible (especially Canada — prior to Bush only a birth certificate and driver’s license were required to travel there, and hundreds of Americans traveled across the border from Michigan to Ontario to work every day.  Bush’s stunt with requiring passport threw all those people out of work.)  The Constitution is sacrosanct — and that’s the point of  this film, but it’s groups like the House Un-American Activities Committee and Bush’s Republicans (also Palin, Limbaugh, O’Reilly, Buchanan, etc.) who are the ones breaking it, especially the First Amendment, while accusing middle-of-the-road Democrats of doing the same thing.  I hate to be political here, but when reviewing a political film one really has to be, so sorry.

This film is also directed beautifully!  When Adelle and Peter/Luke first meet they end up near the ocean, at sunset, and it is absolutely beautiful.  The two climb the (albeit small, but working) lighthouse to talk and have their first kiss.  It’s a gorgeous shot.  The shots of main street, which is about as small-town, 50s America as you can get are picture perfect.  Luke’s homecoming party, and the montage sequence of the town working together to restore The Majestic are particularly well-crafted.  Even the scene in front of the Committee, looks really good.  The Majestic is an over-looked gem, and I particularly recommend it.  And, if, like me, you had avoided Jim Carrey films because of his comic reputation, give this film a try. I just wish Carrey, as an actor, would do more dramas (I can only think of  four, three of which I’ve seen and two I own).

Recommendation:  See it!
Rating 5 of 5 Stars
Next Film:  The Maltese Falcon (1941)