News

Bring up Golden Age Hollywood filmmaker Busby Berkeley, and most people conjure his staging of elaborate, kaleidoscopic dance numbers in such films as “Dames” and “Footlight Parade,” Ginger Rogers singing “We’re in the Money” at the height of the Depression in “Gold Diggers of 1933,” or his sinuous camera weaving through dancer’s legs in such hits as Oscar-nominated “42nd Street” (1933).

A three-time Oscar nominee (for Best Dance Direction), Berkeley’s musicals were credited with saving Warner Bros. from financial collapse before he became a key player in Arthur Freed’s unit at MGM, where he propelled the careers of numerous stars, including Rogers, Judy Garland, Mickey Rooney, and Gene Kelly. Behind the scenes, Berkeley’s life was darker and often tragic — beset by scandal and numerous brushes with the law.

Arguably, Berkeley’s Hollywood artist’s journey is the untold story that “Babylon” wasn’t — and it coincides...

This review was written for the festival screening of "Delirious".PARK CITY -- "Delirious" is not the first film to lampoon the absurdity of and obsession with celebrity culture, but writer/director Tom DiCillo's smart, funny and ultimately over-the-top spoof is more often than not, spot on. His latest effort would have been more satisfying if it had the subtlety and restraint of "Living in Oblivion", whose sly sophistication helped make Dicillo a cult hero to indie filmmakers.

Given that DiCillo has a loyal following and that a solid, well-written comedy is a hot commodity, "Delirious" should have strong art house potential and appeal to a young, hip audience.

DiCillo wrote the lead for Steve Buscemi, at his pale and haggard best here. He plays Les, a sour, frustrated paparazzi, who lives in a dump of an apartment in New York. Into his life waltzes Toby (Michael Pitt), a homeless aspiring actor, whom Les tutors in the tricks of his trade and allows to crash at his pad, which is decorated by sorry examples of taxidermy mounted on the peeling walls.

Les takes himself way too seriously -- more self-appointed philosopher than photographer -- and is bereft of self-knowledge. This set-up works best when it's played for laughs with Pitt as straight man. The film falters when the budding friendship turns melodramatic and comes in for some amateur psychological analysis. Buscemi is forced to overact in a shrill role that requires him to carp and harangue far too often. It's grating and soon the pair sounds like a bickering married couple.

Toby begins an unlikely romance with a Paris Hilton/Britney Spears wannabe, K'harma (Alison Lohman), a talent-free girlish sexpot who is famous for being famous. When not singing and dancing in her underwear in a music video, she sits in her hotel wearing that underwear and shades. DiCillo has a lot of fun with this character and the romance -- Elvis Costello shows up as one of K'harma's party guests -- and Toby is showered in rose petals as he stands outside her hotel. Then he's compelled to hug the doorman. When Les finds out about the affair, he reacts like a jilted lover.

With obvious relish, DiCillo sends up dueling publicists, sycophants of all stripes including the fawning, entertainment press and those bottom feeders, the paparazzi. The reality show that stars a homeless serial killer, where Toby gets his big break, is priceless.

Frank G. DeMarco's edgy cinematography conjures the grungy urban wilderness of NYC as well as the glitzy fantasy world of the rich and famous. Teresa Mastropierro's production design nails the squalor of lower class city life and the sterile luxury of the newly moneyed.

DiCillo and his composer, Anton Sanko, make terrific use of music to drive and cut between scenes. The score rocks the movie.

DELIRIOUS

Peace Arch Films Ltd, Peace Arch Entertainment Group

Credits:

Director: Tom DiCillo

Writer: Tom DiCillo

Producer: Bob Salerno

Executive producer: Mark Balsam, Jimmy de Brabant, Michael Dounaev, John Flock, Gary Howsam, Jennifer Levine, Kami Nagudi, Barry Zemel, Lewin Webb

Director of photography: Frank G. DeMarco

Production designer: Teresa Mastropierro

Music: Anton Sanko

Co-producer: Kristi Lake, Jamie H. Zelermyer

Costume designer: Victoria Farrell

Editor: Paul Zucker

Cast:

Les: Steve Buscemi

Toby: Michael Pitt

Kharma: Alison Lohman

Manager: Gina Gershon

Running time -- 107 minutes

No MPAA rating...

PARK CITY -- Delirious is not the first film to lampoon the absurdity of and obsession with celebrity culture, but writer/director Tom DiCillo's smart, funny and ultimately over-the-top spoof is more often than not, spot on. His latest effort would have been more satisfying if it had the subtlety and restraint of Living in Oblivion, whose sly sophistication helped make Dicillo a cult hero to indie filmmakers.

Given that DiCillo has a loyal following and that a solid, well-written comedy is a hot commodity, Delirious should have strong art house potential and appeal to a young, hip audience.

DiCillo wrote the lead for Steve Buscemi, at his pale and haggard best here. He plays Les, a sour, frustrated paparazzi, who lives in a dump of an apartment in New York. Into his life waltzes Toby (Michael Pitt), a homeless aspiring actor, whom Les tutors in the tricks of his trade and allows to crash at his pad, which is decorated by sorry examples of taxidermy mounted on the peeling walls.

Les takes himself way too seriously -- more self-appointed philosopher than photographer -- and is bereft of self-knowledge. This set-up works best when it's played for laughs with Pitt as straight man. The film falters when the budding friendship turns melodramatic and comes in for some amateur psychological analysis. Buscemi is forced to overact in a shrill role that requires him to carp and harangue far too often. It's grating and soon the pair sounds like a bickering married couple.

Toby begins an unlikely romance with a Paris Hilton/Britney Spears wannabe, K'harma (Alison Lohman), a talent-free girlish sexpot who is famous for being famous. When not singing and dancing in her underwear in a music video, she sits in her hotel wearing that underwear and shades. DiCillo has a lot of fun with this character and the romance -- Elvis Costello shows up as one of K'harma's party guests -- and Toby is showered in rose petals as he stands outside her hotel. Then he's compelled to hug the doorman. When Les finds out about the affair, he reacts like a jilted lover.

With obvious relish, DiCillo sends up dueling publicists, sycophants of all stripes including the fawning, entertainment press and those bottom feeders, the paparazzi. The reality show that stars a homeless serial killer, where Toby gets his big break, is priceless.

Frank G. DeMarco's edgy cinematography conjures the grungy urban wilderness of NYC as well as the glitzy fantasy world of the rich and famous. Teresa Mastropierro's production design nails the squalor of lower class city life and the sterile luxury of the newly moneyed.

DiCillo and his composer, Anton Sanko, make terrific use of music to drive and cut between scenes. The score rocks the movie.

Delirious

Peace Arch Films Ltd, Peace Arch Entertainment Group

Credits: Director: Tom DiCillo; Writer: Tom DiCillo; Producer: Bob Salerno; Executive producer: Mark Balsam, Jimmy de Brabant, Michael Dounaev, John Flock, Gary Howsam, Jennifer Levine, Kami Nagudi, Barry Zemel, Lewin Webb; Director of photography: Frank G. DeMarco Production designer: Teresa Mastropierro; Music: Anton Sanko; Co-producer: Kristi Lake, Jamie H. Zelermyer; Costume designer: Victoria Farrell; Editor: Paul Zucker;

Cast: Les: Steve Buscemi; Toby: Michael Pitt; Kharma: Alison Lohman; Manager: Gina Gershon.

No MPAA rating; running time: 102 minutes.