Honeymoon in Vegas.

Review #1717: Honeymoon in Vegas.

Cast: 

James Caan (Tommy Korman), Nicolas Cage (Jack Singer), Sarah Jessica Parker (Betsy Nolan Singer/Donna Korman), Peter Boyle (Chief Orman), Seymour Cassel (Tony Cataracts), Pat Morita (Mahi Mahi), Johnny Williams (Johnny Sandwich), John Capodice (Sally Molars), and Robert Costanzo (Sidney Tomashefsky) Written and Directed by Andrew Bergman.

Review: 

"It wasn't based on anything. I wanted to do a boy-girl story, and in my perverse fashion, it turned out to be this."

One should have no real expectations with a movie that looks like a screwball comedy and moves exactly the way you might think it does. Does being a movie full of silly moments ripe for a romantic comedy excuse the easy lingering flaw that comes with just trying to be a silly little experience? This was the third directorial effort for Andrew Bergman. Once called the "The Unknown King of Comedy", Bergman (who had studied American history at the University of Wisconsin-Madison) was the originator of the script that became the film Blazing Saddles (1974), which went from a story outline meant to be developed by just himself into a collaboration with Mel Brooks and other writers. He continued to write while getting into directing with So Fine (1981), following it with scripts for stuff such as Fletch (1985) and Big Trouble (done in 1986 while having the dubious distinction of being replaced by John Cassavetes as director). Striptease (1996), for better or worse, is likely the most notable film of the six that he directed from 1981 to 2000.

Honestly, the quality of the movie depends on how much of its 96 minute run-time lands with a flimsy (but fairly human) premise (I mean the whole "son promises mom to not get married", not the "guy offers to pay someone to borrow their significant other for a while", which strangely was done again in a serious light with Indecent Proposal the following year). Besides, what honeymoon isn't complete with a plethora of Elvis Presley references and Elvis cover songs? Do you ever watch a movie and realize the quality in one's memory of it later on changed after you saw it? Work with me on this - sometimes a movie seems better or worse when one thinks about it after time passes from actually seeing it. Begrudgingly, I will admit this usually is more a negative sign than anything, as sometimes one thinks a movie was "not as good" as it originally seemed (hence why one should always take an opinion with a grain of salt). The funny thing is that sometimes it goes the other way around (depending, probably, if one likes to watch a movie with a triggered pause button or not). What I am trying to say is that eventually this movie won me over. Granted, I cannot in good conscience recommend it as any kind of great "hidden gem" or anything, but I can say that if one sees it they will likely be eventually convinced it is a worthy use of their time. Besides, with a dynamic trio like this, one can't go too far off the deep end of despair.

In a sense, you could argue that Cage was suited for comedy. He has a fluid presence that takes on a movie as if the role is a juicy piece of steak waiting to be devoured. Hell, how many of his action roles are just ones begging to be turned into comedies? Actually, while he does decent here in a role plagued by neurosis, one can't help but compare it to the other, more notable love triangle romcom with him in Moonstruck (1987), but that might be me just thinking out loud. At least when he starts shifting from neurotic to impatient it becomes a more interesting movie, because it also strangely times right to the point where the movie is trying to become interesting, such as venting about a long line at the airport. Caan might have picked a wide variety of movies to hit or miss with, but at least one can't see the desperation here (i.e. self-parody in annoying awareness). He makes a decent riff of the tough guy conman type with a brief amount of good humor that makes a worthy guy to contrast Cage. Sure, it eventually becomes a bit easy to see where it will really go (aside from the "look alike" thing, which seems like a gimmick ripped from something else), but at least it seems semi-interesting to sit with. Parker is exactly the warm presence required to balance these two folks out with fair chemistry between each that at least makes the momentum not stop as easily as it could. With a lesser actress (or perhaps one trying to hone on the sitcom touch), one would just see a mild one-sided romance. But she has the patience and spunk required to keep interest there without boredom, so that means there isn't a weak member of the main trio. Honestly, with all of the Elvis stuff (because if an Asian Elvis isn't enough, how about a kid Elvis?), I wish there was a bit more from the actual supporting cast, but having goofy stuff from Morita and Boyle kind of helps in passing the time for atmosphere of attempts in zany stuff (again, having a grouchy Cage helps). By the time it gets to the inevitable climax, at least one can welcome the attempts at going for a zany time while seeing a few interesting sights from Vegas or Hawaii every now and then. I kid you not, the lasting legacy of the movie is the fact that the movie was later turned into a musical, with Bergman collaborating with Jason Robert Brown (Bergman decided to try and develop it after he had open-heart surgery in 2001), with a premiere on Broadway in 2014 (which had the Caan role played by Tony Danza, no seriously). In the end, it all depends on how much one believes in the material when it comes to a useful experience at the movies, and I guess this manages to slip by with enough support in the right places to make an ordinary average movie that you could pick and not regret it too much. 

Overall, I give it 7 out of 10 stars.

Come one, come all for the doubleheader to close out Anniversary in August, which you will get to see this Monday. We started with...an interesting one-two punch of movies not regarded well by folks of the time (and not much else since)...so how about bookending it with two further films with distinct reputations? Saddle up.