By Stephanie Zacharek
By Charles Taylor
By Chris Klimek
By Chris Klimek
By Amy Nicholson
By Amy Nicholson
By Stephanie Zacharek
By Alan Scherstuhl
When Time magazine columnist Walter Shapiro recently referred to himself as part of a generation that still believes "A Thousand Clowns holds all the secrets to human existence," I thought he must be daft. Yes, high school students took Herb Gardner's hit comedy about an urban dropout (played by Jason Robards) as holy writ when the movie premiered in 1965. But surely they'd gag on its soft, joke-riddled version of middle-class revolt if they sampled it today. (When advised to "return to reality," Robards replies, "I'll go in only as a tourist.") Even at the time of its original release, Pauline Kael recognized that the movie peddled "romantic crackpotism -- harmless American nonconformity. The hero's idea of freedom was to wander in Central Park with a kid and make TV-style jokes about TV before going back to do it for money. Basically, it was about as nonconformist as Mom's apple pie."
But A Thousand Clowns teemed with grit, passion and invention compared with Tom DiCillo's Box of Moonlight -- a '90s version of a crackpot jamboree, a movie with its head in Sundance and its heart in Nick at Nite. In this manic yet tepid idyll, an uptight electrical engineer named Al (John Turturro), with the help of a youthful backwoods kook called the Kid (Sam Rockwell), masters a midlife crisis during a July 4th weekend; then he returns to suburbia and his real kid and a wife who should have dumped him years ago.
Near the start, the rural power project Al and his crew are working on gets canceled in midstream. By then, the engineer has had a hallucination or two, sighted his first gray hair and developed the sinking feeling that his men hate him. Phoning his wife to say that the job is right on schedule, he takes the six-day gap before his scheduled trip home to find a pastoral spot from his childhood -- a lake with an enormous slide.
The lake is ruined, but round and about he runs into a flirtatious waitress, a couple of religious fanatics and the Kid, who ultimately cracks his shell. The back cover of the published script, released by Faber and Faber, puts it this way: Al's "chance encounter with a young dropout, dressed in a purloined Davy Crockett outfit, changes his life irrevocably and rescues Al's humanity. Like one of the characters in Shakespeare's Arcadian comedies, Al enters the forest and is transformed." Perhaps if you take away the comic complications, the verbal poetry and the array of characters from Shakespeare's Arcadian comedies, you might get something like Box of Moonlight.
The movie is actually more like several Twilight Zone episodes crammed into one: It replays the essential Rod Serling saga of a man going semi-crazy before he realizes he should escape the corporate rat race. DiCillo's movie is as full of visual gimmickry as any Twilight Zone -- Al sees things happening in reverse, such as coffee pouring back into a pot -- and it's replete with narrative coincidences too, such as Al dialing a disastrous phone-sex operator who turns out to be a shy, sweet woman named Floatie. (She and her frisky sister, Purlene, bring some fleeting love-play to Al and the Kid's domain.)
With his penchant for filching everything from tomatoes to plaster gnomes, and an estate comprised of half a mobile home decked out with Christmas lights, random junk and lawn furniture, the Kid supposedly appeals to the adolescent anarchist in all of us. Instead he rouses the fed-up adult. If his antics were lyrically comic, or at least spry and airy, who'd complain? Unfortunately, the Kid leads Al into high jinks that are inept slapstick at best, symbolic gestures at worst -- such as shooting out the windows of the uncompleted power plant.
A movie such as Box of Moonlight should be buoyant. But DiCillo's script contains no memorable quips or kicky role reversals (at least A Thousand Clowns had the wit to make its grownup a kook and its kid look middle-aged dour). What's worse, its brand of nonconformist rebellion amounts to a form of therapy, something to relax a hard-working man before he settles in for the long haul. Despite its shaggy appearance, Box of Moonlight provides an utterly rote experience, like the flash cards that Type A-plus Al keeps pushing on his eight-year-old son.
From the moment Al clenches his face and berates his power-systems crew for playing tapeball at 4:45 instead of laboring right up to 5 o'clock, this film sinks and never bobs to the surface. How can a reawakening work onscreen when the actor who undergoes it can't suggest any fun or feeling lying dormant in the first place? A couple of years back, Turturro was splendid in a similar role in Diane Keaton's Unstrung Heroes. As an eccentric inventor with two young kids and an ailing wife, he was brilliant at conveying how the man channeled love of family into frenzied research; because of Turturro's depiction of displacement, his climactic moments of emotional transparency were genuine and moving. In this film, Al's transformation from family and power-systems tyrant to sensitive male isn't dramatized, it's merely stated -- and Turturro's performance isn't so much felt-out as willed.
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