“A rarity and a gem...Hollywood Elsewhere is the first thing I go to every morning.” —Ann Hornaday, Washington Post

Payne and Taylor's "Chuck and Larry"

Posted by Jeffrey Wells on July 18, 2007 at 03:27 PM

Everyone knows that Sideways screenwriters Alexander Payne and Jim Taylor worked on a rewrite of I Now Pronounce You Chuck and Larry before it was "Sandlerized." Well, I finally got my hands on a copy of Payne and Taylor's version -- a 136-page revision [dated 8.24.05] of a script originally written by Barry Fanaro based on a treatment by Lew Gallo, and what I read wasn't at all surprising. Theirs is a much better piece. [Warning: Chuck and Larry spoilers ahead.]

Jim Taylor, Alexander Payne

As anyone who's seen Sideways and Election might expect, the Payne-Taylor is way more invested in realism -- recognizable human behavior, logical bits and plot turns, real-seeming textures. It's obviously a "comedy" but the tone is less slap- sticky, more naturalistic. Several scenes in the film are in the Payne-Taylor also, but there's no question that I would have liked their version, had it been shot, a lot more.

For one thing it's much less of a Sandler-esque ego trip (i.e., his Chuck character hasn't nailed his girlfriend's sister and he doesn't enjoy group-sex with a private harem). The girlfriend who chews out Sandler's Chuck in that early scene [see review below] is merely angry at his aloof and uninvolved manner -- his lack of emotional sincerity. And Payne-and- Taylor's Chuck doesn't seduce a female hospital doctor but a sexy TV reporter who's been covering one of the fires he's helped put out. (Sandler obviously felt that making Chuck into a kind of flamboyant Brooklyn cocksman was funny, but in so doing he damaged the credibility...weird.)

A lot of the scenes that made it into the final film are leaner and tighter in the Payne-Taylor version. Where the Sandler-produced, Dennis Dugan-directed movie often feels goofy and fuck-all (like that idiotic scene when the middle-aged house- cleaning woman wakes up between Sandler and David James in their bed), the Payne-Taylor feels disciplined.

There are "refrains" (like Larry saying "going in alive" and Chuck adding "and coming out the same way") that I don't remember from the film. Okay, maybe they're in there and I need to take more Gingko.

I know for sure that the Payne-Taylor is more particular in this and that quirky or interesting way. In the screen version there's a scene in which Jesica Biel's Alex invites Sandler/Chuck, whom she believes to be gay, to feel her breasts, and just before he does she says they're 100% real. In the Payne-Taylor script she says to Chuck that they're fake -- saline-solution implants -- and that they were given to her by a "jerk" plastic surgeon.

A little later in the film there's a Chuck and Alex foot-massaging scene, but for some reason Sander and Dugan didn't use a fascinating bit in which Alex asks Chuck why he's a fireman, and how this affects the way he behaves and sees things. Chuck goes into a riff about how he always notices fire-safety violations and susceptibilities in restaurants and other commercial establishments, and then he ticks off seven danger signals that he's noticed in Alex's apartment. It convinces you that Chuck is a very alert, very serious fireman. (I called a Universal publicist to make sure my memory wasn't remiss, and she agreed that this dialogue isn't in the film.)

There's a scene in which Larry' seven-year-old daughter asks Sandler, who's been put on a different shift than her dad, if she can sleep with him in Chuck and Larry's conjugal bed. He hesitates and says okay. The little girl says she loves him, and he says "me too." Is this scene in the movie? I don't think so. Not in the bed, at least.

In the movie there's a big courtroom finale in which Steve Buscemi's character dares Chuck and Larry to kiss in order to prove they have a passionate relation- ship. They don't. But in the Payne-Taylor script, they do. Unconvincingly. The fact that they don't have a passionate sexual relationship has been made obvious. But the next morning, when Larry admits they're not gay, Payne-Taylor has him give a short speech that I don't remember from the film. Roughly, perhaps, but not word-for-word.

"We're not gay," he begins. "But that doesn't mean we're not married. We have friendship and loyalty and genuine affection. Hell, we even love each other. The only thing we don't have is sex. Well, if you want to invalidate every sexless marriage in this state, I hate to tell you but you ain't gonna have very many married people left."

The sum-up slam-dunk speech given by the fire-station chef (played by Dan Aykroyd in the film) is tougher and more eloquent in the Payne-Taylor. And a Mayor character (the script is set in Philadelphia) gets involved with settling the insurance-benefits situation, partly out of fear of political blowback.

And in the Payne-Taylor, Larry's 11 year-old son Eric, whom the film tells us is almost certainly gay because he's always singing and tap-dancing to Broadway show tunes, is revealed to be happily straight with a new girlfriend called Toni.

It's not just me. I've thought and thought about this, and I know a Payne-Taylor version would have gone over better than the one opening on Friday. I know it. Certainly with the critics and the genuinely serious comedy fans (i.e., the ones who own DVDs of Some Like It Hot and Tootsie and Flirting With Disaster) and high-thread-counters everywhere.

Comments

These two reviews (of the Payne-Taylor script, and the actual film) constitute a nice little double whammy Jeff. These articles are what you claim the Payne script to be: focused, devoid of distracting ego, and dead on. I hope to see more of this sort of thing. I've been one of the first to bitch in the past but a job well done here.

Posted by: The Movie Man at July 18, 2007 04:04 PM

When did Jeremy Piven change his name?

Posted by: Ben C at July 18, 2007 04:10 PM

saying things straight: great job mr. welles.

Posted by: jimjonesiii at July 18, 2007 04:29 PM

The Payne-Taylor version is the one I'd actually pay to see, even though I don't care much for Sandler and have never paid to see any of his movies.

Too bad. I think he has the potential to evolve and do more interesting work, but I guess he's too lazy.

Posted by: Ogami Itto at July 18, 2007 04:31 PM

Oh, and Jessica Biel is hot. Just needed to state the obvious....

Posted by: Ogami Itto at July 18, 2007 04:33 PM

does anyone know when or what the next Taylor/Payne project is? Their work is sorely missed...

Posted by: buzzdaman at July 18, 2007 04:44 PM

great write up jeff. i would have seen the version you just described as opposed to the drivel i'll be avoiding this weekend.

Posted by: erikwithak at July 18, 2007 04:44 PM

Payne & Taylor did thie one and one that comes out next year called "Baby Mama" starring tina fey and amy poehler.

I love Sideways, i hope they return for their own movie.

Posted by: Hopscotch at July 18, 2007 04:54 PM

I agree, nice double whammy take on this off-track mess of a film.

Posted by: giantman at July 18, 2007 04:58 PM

"We're not gay," he begins. "But that doesn't mean we're not married. We have friendship and loyalty and genuine affection. Hell, we even love each other. The only thing we don't have is sex. Well, if you want to invalidate every sexless marriage in this state, I hate to tell you but you ain't gonna have very many married people left."

A lot of this speech was still in the movie, Jeff, maybe changed slightly but mostly there.

I personally don't think it's right to go back to an unused script and say how that one is much better than the finished movie. It's not the film critic's job to review unproduced early draft scripts. If you had a problem with some of the "Sandlerisms" in the movie, that's fine... you just don't like Adam Sandler, but I thought the movie was a solid sum of the parts. I could tell that the storytelling and writing was raised a notch from Sandler's norm but not so much of a departure that it would annoy his fans (you know...the people who've helped most of his movies make more than $120 million in domestic box office? I expect there aren't many critics in that crowd)

Posted by: EDouglas at July 18, 2007 05:02 PM

Ed, I hear what you're saying, but isn't it also a film critic's job to ponder what the film he's reviewing might have been. Like I said, I've read the script and haven't seen the film yet. What I've heard about the film so far is discouraging, based on the strength of the Payne/Taylor script. It does sound like it's been dumbed down, which is too bad, because the script functioned as a sly social commentary. The gay stuff was a metaphor for something larger. Now it just sounds like it's played for laughs, but not too much laughs, because that would be socially irresponsible. I'm definitely going to see it, but after reading Massawyrm's review on AICN, I feel compelled to lower my expectations. Guess I'll just have to settle for another half-hearted Sandlerized comedy, not that there's anything wrong with that.

Posted by: MiraJeffAICN at July 18, 2007 05:25 PM

the real story is simply why take two of the best (and most successful) writers in film today and chuck out their work for dross.

it's hollywood, jake.

Posted by: christian at July 18, 2007 05:51 PM

what's with the thread-count obsession??? wells, you crack me up.

Posted by: erniesouchak at July 18, 2007 06:08 PM

I would think that gays would be far more offended by the ten minute clip of Woody Harrelson in THE WALKER on YouTube than by anything in this movie.

Posted by: BurmaShave at July 18, 2007 06:25 PM

What you don't understand Burma is that for some of us who fall under the rubric "the gays" -- well, we find Harrelson sort of a guilty pleasure. Watched the trailer for the film (couldn't find a 10-minute clip -- maybe it was removed) and I find no problem with his performance. He's more convincing playing "gay" than Philip Seymour Hoffman was in CAPOTE

Posted by: NYCritic at July 18, 2007 07:05 PM

I didn't mean to clump all gays into one group, I hate when people do that (reminds me of Olyphants line in THE BROKEN HEARTS CLUB about how his mother is always referring to The Gays as an organization; "The Gays are having a parade), but seriously, who talks like that? I encourage you to seek out the ten minute clip, he sounds like Hannibal Lecter's fey brother. It looks like it could be a decent performance though, once the artifice becomes obvious as a personality choice.

I thought Hoffman did just find in CAPOTE by the way. He wasn't playing gay, he was playing Truman. I thought he and Greenwood had a nice lived-in domestic chemistry. I'm not totally flying blind here. My brother is gay, for the record. Maybe you've met him at one of your Gay Meetings?

Posted by: BurmaShave at July 18, 2007 07:23 PM

//I personally don't think it's right to go back to an unused script and say how that one is much better than the finished movie. It's not the film critic's job to review unproduced early draft scripts.//

On the contrary, serious film critics do this all the time. Take the work of Orson Welles an an example. Books have been written on the various "drafts" of his films. Regarding "The Magnificent Ambersons," elaborate reconstructions have been put together to illustrate how much better his original vision was compared to the final, studio-butchered production.

Wells (Jeffrey) has done a good thing.

Posted by: Nate West at July 18, 2007 07:26 PM

MiraJeff, no, because the original Payne/Taylor script isn't readily available to the moviegoing public and the job of the film critic is to service his readers (which I guess in Jeffrey's case, that's us, so that's fine) and not tease them with something that will never be.

Posted by: EDouglas at July 18, 2007 08:08 PM

Well Wells isn't just a film critic, he's also a film blogger. Is anyone who was making this argument serious, or did you just kind of get stuck in it? It's like a slightly more insane variation on the rule "Never compare to source material". Well if an Ashthon Kutcher version of A HEARTBREAKING WORK OF STAGGERING GENIUS comes out, directed by Shawn Levy, you can fucking bet it's going to get compared. Same with a Sandlerization of a Payne/Taylor work. What's the issue?

Posted by: BurmaShave at July 18, 2007 08:13 PM

"... Steve Buscemi's character dares Chuck and Larry to kiss in order to prove they have a passionate relationship. They don't. But in the Payne-Taylor script, they do. Unconvincingly."

Well, it sounds as if Will Farrell and Sacha Baron Cohen showed a lot more guts that Sandler.

Why does Sandler insist on wearing that ugly brutally short just got outta basic training haircut all the time? It makes his head look like an egg with a nose. He looked a hell of a lot better with that long Highway 61 Blonde on Blonde Dylan haircut.

Posted by: nemo at July 18, 2007 09:04 PM

"MiraJeff, no, because the original Payne/Taylor script isn't readily available to the moviegoing public and the job of the film critic is to service his readers (which I guess in Jeffrey's case, that's us, so that's fine) and not tease them with something that will never be."

So we're in agreement then? In terms of the parentheticals, I mean, there's a distinction between sites and publications tailored to the interests of cineastes (God I hate that word) and the more mainstream fare like "The Hot Button."

Granted, I WISH this type of insightful review was more predominant in mainstream film criticism. How many times have hateful diatribes been hurled at the credited writer in a scathing review when that individual's original conceit was probably shat all over by the film's director or lead actors?

The last time I can recall a time when Jeff made strong script/film comparisons was for another unfortunate Sandler opus, Fifty First Dates. However, the end result of those articles was the exoneration of the original writer from the mess that the film became.

Posted by: Jack Price at July 18, 2007 09:48 PM

Great work lately, Jeff.

Posted by: qwiggles at July 18, 2007 10:15 PM

Seriously. I leave for two weeks then come back and I've missed all the good shit. I see in a previous thread NYCBB is still being his usual boring self however...

Posted by: cjKennedy at July 18, 2007 10:55 PM

Yeah, I just want to echo the sentiment above: I appreciate columns like this one. Thanks, Jeff.

And for those who don't appreciate this commentary, you're doing a disservice to writers and filmgoers. How is pinpointing when it was in the creative process that the film went wrong any less valid than analyzing what is wrong on the screen? I think that's a pretty useful thing to tell filmmakers.

Maybe our taste is not going to win the box office war, but do you expect those of us viewers who appreciate Payne and Taylor's work to just shut up and let them be marginalized in the name of appeasing the perceived lowest common denominator? Fuck that.

Posted by: DarthCorleone at July 18, 2007 11:58 PM

I'll also say I appreciate this kind of analysis from Wells.

It's interesting that this thread (about how a script by two respected Oscar winners becomes a Sandler flick) has only 1/2 the action of the thread about the movie itself.

We posters here may considers ourselves the Intellectual Elite of HE.
No, not really.

Posted by: DavidF at July 19, 2007 06:16 AM

"I see in a previous thread NYCBB is still being his usual boring self however..."

Harrumph and umbrage, good sir!

Posted by: NYCBusybody at July 19, 2007 06:19 AM

BrumaShave's nightmare scenario for HEARTBREAKING WORK OF STAGGERING GENIUS seems almost crazy enough to be real.

Please, please tell me you were just riffing.
(Shivers)

Posted by: DavidF at July 19, 2007 07:35 AM

welcome back cj. you better get yer tix fast for SKIDOO july 29.

http://www.modsandrockers.com/schedule.200707291930a.html

Posted by: christian at July 19, 2007 09:22 AM

There's no doubt in my mind that the Payne-Taylor script would have made for a much, much better movie. But the "going in alive" stuff did actually make the final cut -- they say it three or four times over the course of the film.

Posted by: MoroccoMole at July 19, 2007 10:38 AM

Thanks Christian. Are you presenting Skidoo at Aero too?

Posted by: cjKennedy at July 19, 2007 10:56 AM

yes, i'll be discussing it at the aero too. we'll have a couple cast members too. we had a sell out great crowd at the egyptian.

Posted by: christian at July 19, 2007 12:11 PM

Terrific. Looking forward to it. Glad I didn't miss my chance.

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babe+fucking
little+sexy+babe+fucking
fucking+blond+babe
dads+fucking+babe
babe+fucking+man
babe+fucking+old
blond+babe+fuck
babe+blond+tits
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blond+babe+foot
blond+babe+pussy
blond+blue+eyed+babe+with+tiny+boob+posing
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Posted by: kevinsanchezzz at November 14, 2007 12:50 AM

Inside Elsewhere...

The Barenaked Critic

Michelle discovers a couple of comedy films thanks to the power of Netflix.

The Silver Spotlight

Adam joins the Elsewhere crew from the Windy City and hits the ground running this week.

Essentials

Ain't It Cool News

Anne Thompson/Thompson on Hollywood

Coming Attractions/Corona

Coming Soon/Film Database

Coming Soon / Release Dates

The Envelope (L.A. Times Oscar site)

Guardian Unlimited (U.K.)

Hollywood Bitchslap

Hollywood Interrupted

Hollywood Reporter

Hollywood Wiretap

Int'l Herald Tribune

Internet Movie Database

L.A. Daily News

Movie City News

Movie Poop Shoot

Movie Review Query Engine

National Enquirer

New York Press/Armond White & Matt Zoller Seitz

New York Daily News

New York Post

New York Times

New Yorker (Denby, Lane)

Radar Online/Fresh Intelligence

Risky Business

Red Carpet (New York Times Oscar blog)

The Hollywood Interview

Variety

Upcoming Movies/ Greg Dean Schmitz

Yahoo showbiz news/gossip

Eye-Openers

Upcoming

July 2

Hancock

July 3

The Whackness

July 4

Diminished Capacity

Gonzo: The Life and Work of Hunter S. Thompson

Holding Trevor

Kabluey

We are Together

July 9

Full Battle Rattle

July 11

A Man Named Pearl

August

Eight Miles High

Garden Party

Harold

Hellboy II: The Golden Army

Journey to the Center of the Earth

Meet Dave

Roman Polanski: Wanted and Desired

The Stone Angel

July 18

A Very British Gangster

Before I Forget

The Dark Knight

The Doorman

Felon

Lou Reed's Berlin

Transsiberian

July 22

Two Tickets to Paradise

July 23

Boy A

Payne and Taylor's "Chuck and Larry"

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