Performance Review: Cheri Oteri in "Dumb and Dumberer" (2003)

If there's one thing that can be said about comedy these days its that it can be plainly generic. What with the "frat pack" reusing ideas and characters and swirling their members into one (usually, there are exceptions) stinker after another. What film and the public needs now is a real comic firecracker that's just in there own league, like an Eve Arden for the '00s. What we need is a style of comedy that doesn't need a constant barrage of sex jokes/bathroom humor to appeal to an audience. What we need comes in the form of that criminally underused comedic presence that made SNL in the '90s so great. We simply need more of...

....Cheri Oteri in Dumb and Dumberer (2003)

In this hilarious prequel to Dumb and Dumber, Cheri Oteri plays Ms. Heller (aka The Lunch Lady) at a Providence high school in the late '80s.

The movie tells the story of how the stupid students Harry and Lloyd first met in high school and how they get mixed up with the scheming Ms. Heller and her lover Principal Collins (Eugene Levy at his best).

What the two have been doing, you see, is embezzling money from the school and have been involved in scam after scam for years. There latest scheme involves creating a fake "special needs" class so they will recieve a big fat check for some special grant, and then escape to Hawaii.

Ms. Heller then becomes the new teacher for the class, and tells Harry and Lloyd to recruit more special perople. While the plot is pretty lame (but occasionally very funny) and is just an average comedy at best, Oteri ends up spinning comedic gold from coal.

The role (just like every other in the movie) is extremely underwritten, and although there is little depth to the character, Oteri lifts this cut-out from the page and makes her the most interesting as well a total hoot. Oteri is a comedienne who's mere presence or her smallest gesture or expression can instigate big laughs. This, combined with some seriously killer comic timing, hilariously fresh line readings, and she's adorned with some pretty funny '80s warbrobe/makeup which makes Oteri's Keller a genuinely delightful treat.

Oteri establishes three main tracks in which she uses Ms. Heller's distress/pleasure to make for some high hilarity.

Whether she's having a little kinky foreplay with her dearly beloved....


....or panicking over the missing evidence....

....or just being a plain dimwitt...she's right on the money.

In fact, her ability to play dumb so well makes the character the perfect accomplice to Levy's wiser sleazebag. Ms. Heller is not a smart criminal at all  -- she's mostly a goofball who's just in a coup with her "monkey" -- and even though she is broadly written that way, Oteri (even with her boundless energy) never goes over the edge with her broad caricature.

Oteri gives the kind of performance that "steals" the movie, although she works seamlessly with Levy to generate some real belly laughs. She's the supporting actress you just cannot wait to see pop back on the screen again. It's the kind of overlooked work that happened to be in a film that, well, let's just say wasn't reviewed to well by the critics or public.

But that Cheri Oteri, in this little Friday-night-flick, uses her full set of gifts as a comedienne to elevate the light material and create a memorable character in the process, is somethin' awesome.

Click here to watch her performance!

Upcoming Stuff!!

* First, is Michelle P's Dangerous Liaisons performance profile! I know its been literally forever but I'm going to wrap everything up soon!

* Performance Review of Marcia Gay Harden in Pollock (and if you have any other requests give me a shout out!)

Cinematic Favorites: "Mildred Pierce" (1945)

(Click to enlarge)

"Get out Veda....get out before I kill you!"

- Mildred

You'll never believe it, but its the one year anniversary (6/25/09) since I first saw my favorite Mildred Pierce. It's the classic 1945 film noir that's most remembered for the casting of and the performance by Joan Crawford in the title role of the working class mother who climbs the business latter to provide for her ungrateful daughter, Veda. Its a film that "worked for me" every minute as I first saw it, and continues to do so. It's a movie that displays superior flimmaking in every sense; the rich, elegantly crafted narrative, the brilliant performances, the music, the perfectly noir-ish cinematography, and the superb, understated direction by Michael Curtiz - they all combine to form a real cinematic treat.

But what makes Mildred Pierce standout among the other noir pictures of the '40s (when these genre was hugely popular)? Something about it certainly does of course; maybe its the themes, the fact that it had real merit matched by b.o. success, or maybe because it holds up over the years. Now, I understand that some of the events in this film can show its age over the years, but the true underlying morals, motivations and actions are timeless. I think that a big part of the film's appeal and greatness comes from the simple fact that all of the working parts involved, both big and small, all clicked together and flow beautifully - an achievement not every film can say it accomplished. Oh no. Hardly any film in this day and age is flawless so its always a delight to see that things were done oh so right back in the Golden Age.

The story/narrative is much like any other film noir at the time, but here (thanks to a sharp and intelligent script) there is something a little different happening before our eyes. Everything is set up and introduced in a puzzle-like formation and as we go along we put the pieces together (mostly scenes and situations that are non sequential). It builds up like clock-work, really. Then when you step back and see everything you might discover something you had missed. This concept seriously does work here because the film's narrative -- while complex and and stuffed with all sorts of goodies -- never becomes this overwrought, soapy mess you would think going into it. This is thanks to Curtiz's direction which is delightfully paced and never skips over any essential details of the story. He keeps things so fresh and lively that when I watched the film again, after many times, it felt like the first time, and because he never gets indulgent/stuffy with the material at hand.

Onto the performances, the film is carried on Joan Crawford's (heavily padded!) shoulders and she is truly the driving force that keeps the film rolling. She aptly crafts a full, complete character and conveys each of Mildred's facets with ease and understanding. Her undeniable, mega star power comes into full effect here, but she doesn't simply rely on that. Instead, she shows us a real woman who's strength, intelligence, and dedication slowly emerge and grow as she builds her life to give her ungrateful daughter anything she desires. She shows the eternal conflict Mildred continually faces between the warm, affectionate mother and the ethics of doing what is right. Mildred may be tangled up with some seriously heavy hitters and some ball-busting situations, but Crawford maintains simplicity for her character without ever going too light. Mildred is many things to many people; mother, wife, object of lust, best friend, business lady, etc. and that she holds a firm, emotional grip on two key register's (vulnerable and tough) throughout is something amazing, and thoroughly Oscar-worthy of course.

As her wicked and beyond spoiled daughter Veda, Ann Blyth is captivating in her role. She gives a performance that is just a bit more complex than Crawford's, and but just as essential. It's Blyth's work that gives the movie its entirely effective noir-ish feel, and the provides Mildred Pierce with its true villianess. She calibrates her characterization to fit the mold of the film's ideas of greed, power, sexual politics, murder and a few other surprises come along the way. Blyth allows Veda's every action and word to slip both ways, provides subtle nuances, and brings dark shades to the role. She's completely, convincingly mean and its fun to watch. Not in any "campy" kind of way, but because she's good at it. Her energy and fire with Crawford is just exciting to watch, and she never looks back.

In the kind of role she was always known for, Eve Arden is just delightful as Mildred's gal pal Ida. She's the kind of friend anyone would love to have, the kind that always has your back. While Arden's role might appear to be an underwritten, flat character who's only used as mere comic relief in all of the dramaticness, she turns something really great out of what she's given. First of all, she's a hoot; her wise-cracks are perfectly timed and delivered with great results. But there's something beyond that, however, as Arden plays a bigger part with the movie, by anchoring the proceedings in a subtle yet powerful way - almost like another favored performance of mine. She's the one character who we can look to for identification and stability within all of the craziness happening and her light comedic touch is a welcoming presence. She gives texture to the role and she adds layers to the character using her own understanding of Ida, that the script doesn't supply. In fact, she not only gives depth to her character, but to the whole overall film. Her wise-cracks and witty observations express doubt/thought in (Mildred's myriad of connections/relationships) to not only her surrounding characters, but directly to the audience and lets them in on what's really to befall everyone.

The performances by Zachary Scott, Jack Carson, Bruce Bennett are all top notch as well as the unfairly uncredited Butterfly McQueen as Mildred's ditzball maid.

Ernest Holler's rich cinematography captures the very essence of film noir and the contrasting of light and the images he captures are all incredibly crisp and clear that I had to check to make sure I was seeing correctly - it was that perfect. But the visuals brought together with Max Steiner's excellent scoring create a treat for both senses.

Mildred Pierce is simply a perfect film, which takes what we think it is, and transends it to something greater and deeper.

What do you think of the film, though?

This Time Last Year....

...Michael Jackson passed away....

Wacko? Yes, but one gifted person nonetheless.

1958-2009

Where were you when Michael Jackson died?

Twister's Film Journal - "Scream" (1996) - Part 1

'Cause Twister loves da' horror films so much, I thought I'd share with you all my favorite memories/pleasures I take away from watching Wes Craven's classic, Scream (if you want to check out my thoughts on Halloween, click here).

I give you....Scream.....

Oh Drew, how I love you! How can you not watch this tense, chilling cat and mouse opening without wishing it wasn't Drew about to get her guts ripped open? But only she could make this scene as memorable as it is today. My brother loves her line reading of, "Uh-huh!" -- please don't ask why.

This part never ceases to annoy the shit out of me; when Casey is trying to call out to her parents for help, she can barely speak to get their attention. BUT, what does she have in her hand?? A phone! Something she could have used to throw at them to get them to look! And who knows -- she coulda' lived!

Another favorite line reading that Twisty and his brother find amusing is Mrs. Becker's phrasing of, "Casey....baby?". Is is that pause? I don't know.

"I was home....and The Exorcist was on..."

For some reason Billy's hand gestures while saying that just stick in my mind.

"My God, you're a tease!"

I love how close Principal Himbry (a great Henry Winkler) gets to Sidney, and touches her chin and everything during the investigation. A little bit uncomfortable, perhaps?

"Is it true that they found her liver in the mailbox, 'cause I heard that they found her liver in the mailbox next to her spleen and her pancreas!"

If the Dew-man gets scared that easily, well the hell is he the deputy?

I love how cruel Gail treats her ever-loyal sidekick/camerman Kenny, and the way it just doesn't seem to effect him. Spewing out her vicious barbs about his weight or, more precisely, his "fat tub of lard ass". In Scary Movie, the humor between them was even more hilarious as you can see here.

Hank, what the fuck is that shit on your head?!

The ultimate bitch-slug. Sidney sure showed Gail where she can stick her news reporting.

"Stu-pidity leak!" - She just hits him repeatedly with a lollipop!

"I'm sorry, if my traumatized life is an inconvenience to you and your perfect existence!"

"Stuuupid!"

No matter how mean they are, these girls are fun watch; the slutty cheerleader who makes fellatio gestures with her finger and her friend, the incredibly ugly gal who looks like a brunette Jan Brady.

Henry Winkler, I have to say, gives a great performance as the doomed principal - he may have about six minutes on screen but he plays Himbry as a nice, caring guy which makes his death even more sad. But this simple scene is actually chilling (even though we know what and when everything will happen). And who could forget Wes Craven's funny cameo as a janitor named "Fred"?

The coolest shot in the film.

Okay, so Billy just openly flirts with these girls and offers them candy in a video store? Is he only there to scare Randy, or was he just hangin' with Stu?

"There's a formula to it - a very simple formula - EVERYBODY'S A SUSPECT!"

"What am I, the beer witch?"

Is it cold here, Tatum? Hallelujah! You have to love the fact that Craven kept in this shot with McGowan's perky nipp's sticking out. But hey, it wasn't a bad choice.

Like she seriously thought she could fit through the dog hole? Come on, those jugs would need a hole of their own to get through. But her groovy skirt and go-go boots are a nice blast from the past, though.

Tatum's rubber head gets smushed by the evil garage door!

"Jamie Lee was always the virgin in horror movies; she nevah' showed her tits, 'till she went legits!"

Jamie tells Jamie to watch out for the killer - man, I love the irony! And I heard tell that Skeet Ulrich really was in the costume in this scene.

I always get a good laugh when Gail strikes Randy with her ancient "brick" cellular phone!

More to come!

Look at this picture....

...and tell me that Josephine Hull does not look like Rip Torn!