I’ve been in a state of quiet, suppressed worry over Warren Beatty‘s Rules Don’t Apply (20th Century Fox, 11.23) for nearly four weeks. As noted I’ve been chatting enjoyably with Beatty for a quarter-century and I feel real affection for the guy (and I always will), but I can’t wiggle around the fact that while the movie is certainly its own bird and reps a strong vision, it’s mainly a spotty, in-and-out thing.
I recognize that several critics are fans and I’m happy for that, and I’ve heard it’s definitely popular among certain Academy types — cool. I hope Rules does well commercially and that Warren lands a Best Actor nomination for his trouble, although I think he and his strategists should have gone for a Best Supporting Actor nom instead. Just my opinion.
(l. to r.) Lilly Collins, Alden Ehrenreich and Warren Beatty on the red carpet at Thursday’s AFI Fest premiere of
Rules Don’t Apply.
Beatty has been telling everyone that Rules Don’t Apply isn’t a Howard Hughes biopic, and that it’s primarily a love story between a pair of 20something Hughes employees — Marla Mabrey, a virginal would-be actress played by Lily Collins, and Frank Forbes, a driver-assistant played by Alden Ehrenreich — who want each other but feel constrained by the sexual puritanism of the ’50s. But the film is a Howard Hughes film, no question, and Beatty’s performance as the eccentric billionaire is by far the strongest element.
You come away thinking about Beatty’s performance — he’s got the charisma, conviction, weirdness, authority — but hardly at all about Collins or Ehrenreich’s, due to their characters feeling thin and under-written and muffled. And while the movie feels like it’s using the conventions of farce to keep things peppy and funny, at the same time it seems a little afraid of playing it straight and plain.
But Rules is engaging here and there and at times even approaches a kind of brilliance by way of a klutzy, off-center mentality. Which is to say…I don’t know how to put it. I’m scratching my head as I write this.
Rules Don’t Apply isn’t so much a “dramedy” as an arch, dialed-down farce that feels inspired here and there and at other times like a movie that never really takes flight. It’s a mix of conflicted and conflicting impulses and cross purposes, and yet is all of a curious piece. I saw it for a second time two nights ago, and I’m afraid I felt the same as I did after the first viewing in mid-October, which was “hmmm….in and out, not bad here and there, Warren is good, maybe Academy members will like it, crazy movie, some good scenes,” etc.
It feels turgid and constricted in some ways, and yet has a silly, loose and fuck-all tone at other times. A bent, tightly-sprung attitude.
It’s been edited like a sonuvabitch — cut, cut, cut, cut, cut, cut, cut, cut. Many scenes during the first 25% or one-third feel a bit choppy and abbreviated. Yes, that’s the way farces are usually paced. It reminded me at times of Ernst Lubitsch‘s Design for Living (that’s good) and at other times like Charlie Chaplin‘s The Countess From Hong Kong (don’t ask). And yes, I recognize that it’s personal to some degree in that Warren came from a somewhat repressed religious culture in the ’50s.