'Majestic' proves 'feel-good film of season'
Julien R. Fielding
"The Majestic," a Frank Capraesque drama set in 1951, has arrived just in time to warm holiday hearts and benefit from patriotic stirrings.
It's the "feel-good movie of the season."
Just as he gets a shot at writing a mainstream Hollywood film, writer Peter Appleton (Jim Carrey) finds himself labeled a communist by the House Committee on Un-American Activities.
With his career and future receding from him, Appleton gets drunk, then goes for a drive. Heavy rain and a bridge-crossing opossum later and Appleton's in the water.
He winds up on the shores of Lawson, a small town outside Los Angeles, with a bump on the head and a case of amnesia.
But while he doesn't remember who he is, the townspeople do. Why, you're Luke Trimble, they tell him, one of the 62 soldiers this town gave up to the war effort.
Getting one of their own back prompts a spiritual renewal and revitalization in the town including the refurbishment and reopening of the Majestic theater, the Trimble's family business and lifeblood of the community.
By the end of the film you'll be proud to have the Bill of Rights and Constitution working for you, appreciate the small town dynamic, feel nostalgic for old Hollywood and feel energized enough to go out and make a difference in the world.
Michael Stone, B-film actor and boyhood friend of director Frank Darabont, creates "The Majestic" by combining plot elements from "The Player," "Mr. Smith Goes to Washington," "It's a Wonderful Life" and "Cinema Paradiso."
It's not bad cinema, although, sometimes it all seems awfully familiar.
Had this script fallen into the wrong director's lap, it could have been incredibly wince-producing. But Darabont, the best adaptor of Stephen King material yet, knows how to cull Oscar favor.
His last two films, "The Shawshank Redemption" and "Green Mile," received multiple nominations.
Considering the director's penchant for World War II-era material, it's not surprising Darabont lavishes great attention on "The Majestic." Working with cinematographer David Tattersall, costume designer Karyn Wagner (Oscar nominee for "The Green Mile"), and production designer Gregory Melton, he achieves some phenomenal results.
But a director can only do so much. He or she also requires a skilled cast to raise the material to another level.
When you think of a modern day Jimmy Stewart, Carrey's name probably doesn't come up, especially when you think about "Dumb and Dumber" or "Me, Myself and Irene." But give this guy a chance, and he'll prove you wrong every time. He's more than up to the challenge.
Unlike many comedians - and I'm thinking here of Robin Williams - Carrey can switch off that irritatingly manic side, and give a true straight guy performance. He did it in "The Truman Show," then turned heads again in "Man in the Moon." Three times a charm for this actor, because "The Majestic" could net him some Oscar notice.
It doesn't hurt, however, that he's surrounded by some exceptional supporting players, including David Ogden Stiers, James Whitmore, Bob Balaban and Ron Rifkin.
Other strong performances come from Gerry Black, who plays Emmett, the Majestic's aging usher; Karl Bury, who plays the scarred World War II veteran and cook; and Broadway actress Susan Willis, who plays Irene Terwilliger.
Carrey also has Martin Landau to play his father, Harry Trimble. Even when it's predictable and syrupy, Landau makes you believe. He reaches into your heart and gives it a hearty squeeze. This fine actor could grab a supporting Oscar nod.
And as Adele, Appleton's love interest, Laurie Holden proves more than just shimmering blond hair and an easy smile. In her feature film debut, Holden makes quite an impression. She exudes confidence, strength and beauty like a modern day Lauren Bacall. "X-Files" fans might recognize her as Agent Mulder's United Nations contact, Marita Covarrubias.
The soundtrack of the film, too, successfully sets the mood, with finger-snapping songs, such as "Orange Colored Sky" by Nat "King" Cole, The Spencer Wyatt Big Band's rendition of "Pennsylvania 6-5000" and "Paper Doll" by the Mills Brothers. Although I didn't grow up during this era, I left the theater feeling nostalgic. (It revived memories of my grandmother, who used to tell me stories of the Depression.)
What's also notable about this film is it reminds us how fear and anxiety can lead to gross injustice.
Who today could believe that a country that prides itself on being "the land of the free and home of the brave" could have ruined innocent people's lives and denied them of rights guaranteed to them by the Constitution? Who believes a witch hunt could have occurred just 50 years ago?
Now examine what our government is doing in response to the events of Sept. 11. Considering this film was written before the terrorist attacks, it's surprising how timely its message is.
Like Steven Spielberg, Darabont loves classic Hollywood and in his films revels in the high points. For instance, in "The Green Mile" he includes the "Top Hat" sequence and in "Shawshank" we find the scene in "Gilda" where Rita Hayworth flips her hair.
In "The Majestic" we see all the great films pop up on the Majestic marquee, titles like "Streetcar Named Desire" and "Invasion of the Body Snatchers." (We even have the recreation of a B-film swashbuckler, courtesy of the always magnetic Bruce Campbell.)
If you truly love motion pictures and stories of people triumphing over injustice, you'll find much to like about "The Majestic."
'Majestic' proves 'feel-good film of season' was originally published in Daily Nonpareil on 20 December, 2001. © Council Bluffs Daily Nonpareil LLC
