Outrage Stands Tall

Two days ago I ran a two-point riff on the themes of Kirby Dick‘s Outrage. One, closeted gay politicians who support anti-gay legislation are tragic and despicable figures. And two, while I understand and sympathize with those who’ve sought to “out” these hypocrites, I would never out anyone on my own. But I feel differently after seeing Outrage at a Tribeca Film Festival screening last night. Not about my own hesitations, but about how there’s a certain logic and a rightness to outing Washington, D.C. power brokers.

Running only 90 minutes, Outrage seems to me like an exceptionally tight and disciplined and truthful testament. It’s ballsy and straight and coming from a healthy place. It’s certainly one of the best-made films I’ve seen this year, and without question one of the toughest and bravest.

Dick’s aim is to expose a bizarre psychology on the part of closeted politicians who’ve voted against gay civil rights as a way of suppressing their own issues. Bluntly and unambiguously and without any dicking around, Outrage names names. Dick seems to have done his homework; you can sense discipline and exactitude and what seems like solid sourcing all through it. I came away convinced that it’s better to look at this tendency frankly and plainly than to just let it fester.

I still feel opposed to personally outing anyone, but Dick’s motive is clearly to let air and sunlight into a series of Washington, D.C. situations that have been about shadows for too long. That’s what kept hitting me over and over as I watched — i.e., that Outrage is doing a fine job of persuading me that it’s all about telling the truth. I believed it, I believed it, I believed it.

Most of the politicians profiled in Dick’s film are Republicans, which of course fits the spin and deny psychology. Florida Governor Charlie Crist is the headliner. California Representative David Dreier, former George Bush campaign manager Ken Mehlman, Idaho Senator Larry Craig, Rep. Jim McCrery (R-La.), and Rep. Ed Schrock (R-Va.). Private aspects of the history of Democrat Ed Koch, the former New York City mayor, are also reviewed.

Fox News anchor Shepard Smith also comes under scrutiny but not a certain CNN news anchor, mainly because CNN isn’t perpetrating a right-wing agenda and because the anchor is known for his humanistic, right-guy reporting so why go there?

The doc, Dick has said, examines “the issues surrounding closeted politicians and their hypocrisy in voting anti-gay — and how these people have harmed millions of Americans for many years…if someone is passing laws against the LGBT community, and they’re closeted, that is a form of hypocrisy, and the public deserves to know. These people are victims of homophobia too. You can never go into too much detail about anything you do because there will always be the next question, and the next question. That keeps you distanced.”

Openly gay politicans and LGBT advocates-activists Barney Frank, Larry Kramer, Michelangelo Signorile, < Tammy Baldwin, and former New Jersey governor JIm McGreevey all make their views known.

This is a curious observation that I don’t want to express the wrong way, but Outrage feels longer than 90 minutes. It doesn’t drag or meander in the least, but it crams so much solid-sounding, credible-seeming information into an hour and a half that it’s natural to assume without looking at your watch that it runs100 or 110 minutes at least. I mean this as a high compliment.

Fogler Factor

Dan Fogler‘s absurdly broad performance in Balls of Fury convinced me that he was a sworn enemy of restraint. His name went to the top of my must-to-avoid list. Then I read about his portraying the young Alfred Hitchcock in Chase Palmer‘s Number Thirteen and thought about cutting him a break. Now comes Hysterical Psycho, a Tribeca Film Festival entry that Fogler wrote and directed. Couldn’t see it last night; will try on Tuesday. Anyone?

Anthropology

Has anyone with a cinematic IQ over 50 even seen Obsessed since it opened, or in a press screening beforehand? The bizarre success of this faux-Fatal Attraction knockoff (to go by Variety‘s John Anderson) tells you there are two moviegoing cultures out there. One, people who have a semblance of taste in (or a healthy amount of passion about) movies, which accompanies a certain fervor and sophistication about movies in general. And two, those who flock to films like Obsessed.

Nicholson at Brown

Three days ago I mentioned that Jack Nicholson hasn’t made a film since The Bucket List — two years ago — and wondered what’s up. The next day I was told about a discussion he’ll be taking part in today at Brown University’s Salomon Center, in a panel arranged by the Ivy Film Festival. It starts at 3 pm. I was going to cover it, which would have involved Amtrak-ing all the way up to Providence and back within a 10-hour period. But I didn’t want to blow all that time and money.

But if anyone records this event today (or intends to take notes and report), please forward and I’ll post something tonight or whenever. Why is the usually reclusive Nicholson doing a q & a at Brown? He has a daughter, Lorraine, who’s in her junior or senior year there. Here are photos of the two of them touring Brown a couple of years ago.

Wimpy Bruno

The white-horse photo (with obvious allusions to you-name-it) is what should have been used for the new Bruno poster. But instead caution (i.e., a polite word for timidity) won out among the Universal marketers. The result is the field-of-flowers poster, which has disappointed everyone. Oh, and that “Borat was so 2006” slogan is so March 2009, guys. It was funny the first time.

“Discerningly Photographed”!

“There are limits to artistic self-indulgence, limits to how long a filmmaker can keep spinning his creative wheels before his work approaches self-parody, and limits to the tolerance of even a devoted specialized audience for artistic vacuity, and they are all well exceeded by The Limits of Control. This discerningly photographed travelogue of modern Spain features Jim Jarmusch in shallow poetaster mode, grafting familiar quasi-philosophical doodles and trendy cameos onto a woolly hitman’s journey. The limit on the theatrical potential for this Focus Features release is extreme.” — from Todd McCarthy‘s Variety review, posted yesterday afternoon.

Apatow Ups His Game

There have been a couple of recent bellwether showings of Judd Apatow ‘s Funny People (Universal, 7.31) in Los Angeles — a friends-of-Apatow screening plus a research screening that happened (I’m told) about eight days ago. And the word is better than pretty good, “amazing,” “James L. Brooksian,” etc. The leads, of course, are Adam Sandler and Seth Rogen, with Leslie Mann, Eric Bana, Jonah Hill and Jason Schwartzman in supporting.

Possibly an award-level thing, a director friend said this morning, although he was just passing along the chatter. It’s more in the realm of Sandler for Best Actor and Apatow’s script for Best Original Screenplay, he speculated, than a Best Picture shot…but you never know.

So I called a non-vested guy who’s seen it, and here’s what he said: “Really funny, a really sweet movie, a lot of veracity…really a brilliant film. Everybody’s game goes up a lot. It’s a James L. Brooks-level thing and a great role for Adam. It’s a perfect blend of everything Sandler has done in a serious vein. The film could be a bit of a marketing problem because it’s about show business but it’s so real.. It’s about a famous guy, a comedian, having to deal with the fact hat he has no life and nobody to turn to. But he gets better [through a relationship with a younger comic]…it’s basically a love letter to having a family.”

Could be a “marketing problem” because it’s about show business? Average Joes are resolved in their opposition to a movie set in the entertainment community? What kind of stupid-ass attitude is that?

A guy in the Universal loop says he “would argue a bit on the ‘marketing problem’ as the trailer [has] consistently scored tremendously well, no matter what kind of movie it’s shown with. Audiences are really responding very very well so far and the trailer does not dodge the central conceit of the sickness/rebirth.”

I’ve had the script for a long while and have been too lazy to read it. The IMDB synopsis says it’s about “George (Sandler), a very successful stand-up comedian who learns that he has an untreatable blood disorder and is given less than a year to live. Ira (Rogen) is a struggling up-and-coming stand up comedian who works at a deli and has yet to figure out his onstage persona. One night they perform at the same club and George takes notice of Ira, and hires him to be his semi-personal assistant as well as his friend.”