Freddy Riedenschneider Fanclub

First of all, I am a sucker for post-1960 black and white. This photography does not disappoint. It is all to easy to look back on things now and start naming heroes. Lenny Bruce was no such thing. He had serious problems, not the least of which being substance abuse. So, this is not someone whose word is law. However, the man had something to say, and tried to say it at all costs. Dustin Hoffman nails his role. (Mr. Carney better give a mind-bending performance in "Harry and Tonto" to beat Pacino and Hoffman in some two of the best performances American cinema has seen.) The documentary approach was very effective and poignant. One of my favorite things about the film was the editing between the narrative and the performances(s?) toward the end of his career. Not only did it work aesthetically, but it was subtly brilliant to intertwine Lenny's observations with his real experiences. This shows that, right or wrong, he was coming from the heart. He did not claim to be a saint, but he saw problems in his life and America at large, and he didn't hesitate to share those thoughts. This is a stirring film with importance. Forget that you do not agree with him, at least hear him out.

I have been meaning to see a Philip Kaufman film, preferably this one, for a while. After seeing it, I have a hard time seeing myself liking any of his other work more. I have not read the Milan Kundera novel, although I surely plan to, but the film is something like I have never seen before. I would go so far to say it is "The Last Tango in Paris" without screwing around and actually saying something in the end. A week after seeing the film, I was still thinking about it. The unprolific Daniel Day-Lewis turns in a good enough performance. However, Lena Olin and Juliette Binoche turn in a couple of the most subtley profound performances by any actress. Surely Binoche should be considered one of the great females in film in the next decade. "...Lightness..." is very moody, and this is often the film's strongest point. Even when it seems there is just not much going on plotwise, you are simply pulled in by the haunting cinematography and rich characters. The light, playful piano riffs serve as a very appropriate supplement to the film's bleak tone. The picture repeatedly refuses to give into conventionality, and just when we don't know what else it could do, it surprisingly shifts into a sentimental gear for the last act. This is, however, credible and unmanipulative. The characters shed much superficiality by this point, and by the end they are not annoying soap opera characters in a love triangle, but rather real people with real problems. I am glad the studio allowed the near three-hour running time, because, otherwise, we would not feel as if we have just finished the journey of character that the principle on-screen characters have. Thank you Philip Kaufman for NOT turning in a "crowd-pleaser."

Most people would say you can check your brain at the door before you watch this film, but I beg to differ. This is genuinely intelligent stuff here folks. The director, Sam Raimi, reminds us in this film what it is like to have fun. From the film itself, as well as the DVD featurettes, it is apparent that Mr. Raimi is having a blast doing what he does best. It shows too. Granted, there is not much in the line of plot or theme, but these would be totally gratuitous in this escapist piece. Instead, we are given a fantastic adventure, appropriately tongue-in-cheek special effects, and an ode to The Three Stooges. The facial expressions of Bruce Campbell alone make this film well worth its 80 minutes. I don't want to give away a single joke, because the experience is just too much fun. So, do yourself a favor. Watch this film without being so hard on yourself. Yes, you are allowed to laugh. There can be non-sardonic humor in modern day America. Sam Raimi proves it.