solidgold-2

"You Don't Say" is the sixth feature film from producer/director/writer Robert Alaniz. Like his previous film, "D*I*N*Ks (Double Income, No Kids)" Robert has gone the comedy route with the movie. And, like the previous film, he's proved himself equally adept at comedy writing and the comedic timing needed by a director and editor to provide yet another enjoyable experience. There's a reason why Robert was given the "Auteur Award" at the 2011 Illinois International Film Festival (and why "D*I*N*Ks" won the Best Feature Film at the Route 66 Film Festival last year). Robert doesn't just entertain— he adds a subtle message on the perils of political correctness that keeps "You Don't Say" from being more than just empty calories.

Gary Gow and Julia Chereson play Jerry and Bobbie, a Chicago couple who've yet to take that big step into matrimony. Bobbi's a talented, up-and-coming businesswoman who's been put in charge of her company's impending merger. She has a knack for saying just the right thing to avoid unpleasant situations. And that has served her well as she climbed the corporate ladder— but perhaps less well in her personal life. Jerry is a much-older artist who years earlier left the business world tiring of the corporate double-speak and hypocrisy. Truth be told, both wish Bobbi could be a little more like Jerry.

One day, Jerry discovers a necklace in a shop with a supposedly mystical "speaking stone" that causes the wearer to express whatever is on their mind. Of course, he buys the necklace for Bobbi, who begins to tell co-workers, family and even strangers exactly how she feels (my biggest criticism of the film is why neither Jerry nor Bobbi equate her newfound openness with the necklace but perhaps that's part of the mysticism).

Is this sounding a little like Jim Carey's film, "Liar Liar"? Actually, Jerry brings that up to Bobbi. Her response is, "That was a movie. This is reality." It's a funny line that uncovers a hidden truth. While Jim Carey mugs for the camera and milks improbable situations for comedic effect, Robert Alaniz achieves his laughs from three-dimensional characters placed in everyday circumstances. Will Bobbi blurt out the truth about her company's merger and ruin the deal as well as her career? Let's just say the ending is both logical and satisfying.

In-between, there are sub-plots and wacky characters (this is a comedy, after all) that keep things interesting. Like Bobbi's father, a football fanatic who wears a helmet when he mows the lawn so he can get close to the turf. And haven't we all had a neighbor like Mrs. Kaputnik, a spacey bohemian who drags Jerry into a search for her cat named Pussy? Robert knows that story-telling is more than just moving from Point A to Point B. It's the occasional journeys to Point C that make a movie entertaining (and sometimes are more important to the plot than we realize at the time).

It's clear from the start that Gary and Julia were the right choice. Gary had already proved his ability to handle a lead role in Robert's much-darker "Timeserver" film. And Julia is an accomplished Chicago theater actress. When they're on the screen together, it's a joy to watch two professionals reacting and playing off each other, bringing the script to life. Call it chemistry, call it movie magic— it's what all good films aspire to.

Yes, Larry Thomas is in the movie. You may remember him as "The Soup Nazi" on TV's "Seinfeld." In "You Don't Say", he plays the head of the firm Bobbi's company wants to merge with. And while he has few lines, his face can be incredibly expressive, proving the movie's premise that what you don't say is often as important as what you do.

The rest of the cast is top notch, as well. Standouts include Robert Frankel as Bobbi's boss, Andy Clifton as her priest and Dani Wilkin as the office tramp, turning what could have been a stereotype into a real life person.

The three songs in the movie are by Alan O'Day. You might remember his #1 hit from 1977, "Undercover Angel." He also wrote Helen Reddy's 1974 #1 tune, "Angie Baby." Here, his title song over the opening credits (backed by beautiful shots of downtown Chicago) sets the pace for what you just know will be a fast and funny frolic that— though locally produced— exceeds much of what gets imported from the coasts.

Be aware that the film does contain adult language and situations. As they say, parental discretion is advised.

SOLE Productions and Robert Alaniz's "You Don't Say" is a refreshing break from the zombies and slashers that seem to pass for independent filmmaking these days. It should not be missed.

Yes, Robert Alaniz makes independent films. But don't dare call them low-budget movies. Oh, he creates on a shoestring. But you'd never know that from the product on the screen. Robert's name on a film assures an experience that exceeds most of what you'll see coming out of Hollywood. Don't ask how he does it. Just enjoy it.

Having tackled mystery and science fiction in films like "Barrymore's Dream" and "Timeservers," the Frankfort auteur has moved on to comedy. "D.I.N.K.s" (Double-Income, No Kids) does not disappoint. It's light and uplifting with a real message subtly injected.

Of course, Robert has a secret weapon in all his films— his screenwriter. He has a great one. Himself. Robert has a passion for fleshing out his characters and making audiences care about them. And because not every scene in his movies is there to advance the plot, sometimes he can fool you when a minor subplot turns into a pivotal moment later in the story.

"D.I.N.K.s" is the story of Richard and Rachel, who live in a fictional Chicago suburb and have chosen not to have children. This puts them at odds with most of their friends and neighbors, who consider the couple's lives incomplete and their attitudes selfish. Yet, as we see, the others are the ones creating a generation of self-indulgent, spoiled brats. Fed up with the childish antics of both parents and their offspring, Richard (a free-lance writer) begins to write about the discrimination childless couples face. As the idea begins to grow, he eventually finds himself in conflict with municipal authority.

The acting in "D.I.N.K.s" is top notch. David Tibble as Richard and Deborah Craft as Rachel have a great sense of comedic timing— due, no doubt, to their extensive stage work. It has to be a coincidence since filming was before the Chicago mayoral election, but I found that Marco Garcia as the town's mayor bore enough resemblance to Rahm Emanuel to add an extra dimension to his already-choice character. Steve Parks' over-the-top lawyer was hilarious and Katherine Trost stole every scene she was in.

It's easy to say "Support local filmmakers" and "Support independent films." But eventually they have to be worth your support. Robert and "D.I.N.K.s" deliver the goods.