They Might Be Giants

Being American and inadvertently an avid viewer (consumer) of cinema of all genres and qualities, I have to say that this is one of my all-time, forgotten favorites.

Not being a film student or critic, I fall into that overlooked and easily dismissed category called "the audience" which is humorously described as having no knowledge of art, but knowing with certainty what one likes. As such, I can say, unequivocally, that I like this film.

Most important to me as a viewer, above all other aspects of a film, is the story that is being told. If the story is winning, endearing and meaningful, then all else can be forgiven, production quality, even poor acting. Sans the poor acting, "They Might Be Giants" is just such a film.

I won't bore you with the wealth of meaning and depth of insight that I have gleaned from this wonderful story. Suffice it to say that despite what some have chosen to call its' "saccharine" quality (and what I call its' endearing quality), this story has the metaphysical import that elevates it to the level of a modern-day fable for the Western World.

Because I am unstudied and basically an "illiterate" in terms of Western Literature, the references to Don Quiote were completely invisible to me until now. For this enlightenment, I give thanks to the other reviewers. This comparison rings true throughout the story, and has enriched its' overall meaning for me. However, because I was initially unaware of this now obvious reference, for me the "They" in the title of "They Might Be Giants" referred to the very characters, themselves, all of whom are socially flawed, socially marginalized individuals, all of whom are void of "desirability".

As such, these characters, very aptly portrayed by the cast, although quirky, stand-alone individuals respectively, collectively come to represent the "everyman". The impersonal facelessness and the spirit-killing angst of personal worthlessness in midst of the post-industrial age of "modernity" are the windmills at which our Don Quiote, Justin Playfair, tilts. More importantly, we come to understand that this mask of facelessness may well be hiding individuals of truly gigantic spiritual dimensions and human worth. Our fellow human beings, who we pass, nameless, in the streets, "They Might Be Giants"!

Sadly, i saw this film only once, back in the early eighties;it remains unforgettable.An earlier reviewer said that it echoes Don Quixote as well as Holmes;they were right. Scott was one of the greatest actors, and this is one of his finest films. It is rich in humor and fantasy, and it boasts a very good performance by Ms. Woodward to compliment the one by Scott.

In 1976, ONE FLEW OVER THE CUCKOO'S NEST(1975) was nominated for 9 Academy Awards, winning 5 in all the major categories. But 5 years earlier, another film tackled mental illness (all be it in a different manner) in it's own unique way. This film was THEY MIGHT BE GIANTS(1971). Now many would argue that Cuckoo's Nest was a superior film, and they would probably be right. They Might Be Giants was shot on a miniscule budget, and was cut down for release by studio exec's. In a further insult, the same studio exec's refused to support the Director's bid for a wide release. It's a shame too, because it featured one of the most overlooked comic performances in film history. George C.Scott plays Justin Playfair, a retired judge who thinks he's Sherlock Holmes. And he does it perfectly. Right down to the subtle gestures and mannerisms. In one of films best scenes, Playfair arrives in a local Mental Institution for an evaluation. A struggle breaks out with the patient before him (a mute, who refuses to reveal even his name) and it's up to Holmes to save the day. And Save the day he does. The Dialogue in this scene is brilliant. Some of the best I've ever heard. And it's all Scott. Not only does he get the man to talk, he guesses his name! The supporting cast is excellent as well. Joanne Woodward is the perfect foil as Dr Watson, Jack Gilford as Wilbur Peabody, and the rest of the New York actors are real, and delightfully eccentric. The end of the film with the "March to find Moriarty" is a classic. Listen to the music in this scene, it's great! So if you liked Cuckoo's nest, check this one out...you won't regret it!!

This is one of those films that is so quirky that you love watching it. Certainly not a big budget film despite having two great actors in George C. Scott and Joanne Woodward but it is a fun film. Director Anthony Harvey had an odd career. He only directed nine theatrical feature films and in only his second film he hit a home run with 1968's The Lion in Winter getting seven Academy Award nominations including Best Picture and Best Director for himself. He didn't win in those two categories but that film did win three Oscars. He didn't direct another film for three years until he came out with They Might be Giants which was such a small film and such a departure from his previous big historical epic. George C. Scott turns in an excellent performance here as does Woodward. This isn't a great film but it's fun and interesting and the supermarket scene is a riot. I've seen this a couple of times and would definitely like to see it again sometime. I would give this a 7.5 on a scale of 10.

This is a quirky, oddly affecting comedy about a judge, gone psychotic after the death of his wife, who believes that he is Sherlock Holmes. His brother wants him committed to an asylum, not for reasons of concern, but so that he can become executor of the would be Holmes's considerable estate.

A female psychiatrist is asked to interview him for the formality of the commitment but becomes fascinated by the "Holmes" she meets because of his truly extraordinary deductive reasoning. It's apparent that, delusional or not, he may be a genius of some kind, and far more fascinating than most ordinary mortals.

The psychiatrist, whose name just happens to be Watson, joins this Sherlock Holmes in his quest to search the streets of New York City for his nemesis, Professor Moriarty. On the way they meet various other people, also largely spurned by society, but, somehow, kindred souls in an otherwise pretty cold world.

This strange but intelligent, utterly charming film died a quick death at the 1971 box office, but has found a cult following of sorts over the years. George C. Scott, with briar pipe and deerstalker hat, is virtual perfection in the role of the man who believes he is Holmes, while Joanne Woodward, devoid of her usual glamour, playing the socially awkward psychiatrist who starts to gradually believe in his cause, brings a warmth and touching vulnerability to her role.

The film has a few wonderful scenes with lovely little touches. Holmes takes his Watson to a little movie theatre, almost empty but for a few street people, and a makeout couple in the top balcony. Yet the street people there all know him, greeting him with smiles as "Mr. Holmes" at this theatre where he likes to come for comfort and watch westerns.

At another unexpected moment a police officer suddenly comes around the corner, spots "Holmes" and a large smile spreads across his face as he says, "Why, Mr. Rathbone, it's an honor, sir," as he reaches over to shake his hand.

And, towards the film's beginning, there is a marvelous scene in which Scott, dressed as Holmes, arrives at a seedy asylum where an inmate is being abused by an orderly. There's a low angle camera shot of a towering Scott/Holmes as he struts through the hallway unruffled, dispassionately disarming orderlies who try to grab him, then proceeds to analyze the mind of the abused patient in a manner that has the patient's doctor (Watson in her first encounter of him) in almost open mouthed admiration.

The film's final scene will undoubtedly baffle many viewers because of its ambiguity. It's a moment that is clearly open to interpretation. But I think that scene, and this film, are about the soaring human spirit, and a belief in one's self even though logic and all around you may tell you that you are wrong.