Stars and Bars

William Boyd's "Stars and Bars" - the book - stands in the great tradition of the English comic novel (Evelyn Waugh being one of Boyd's masters and inspirators). Now, I've seen the film only in German language... That's a pity because of the resulting demi-lack of Englishman-in-New-York-effects. As you can image, the German translation cannot be that perfect. I guess that the linguistical misunderstandings between the "hero" (Day Lewis) and the bizarre Georgian family with Anglophobic slursare are ten times funnier in the original version (as they are in the book). Anyway, I liked the film immediately and I'm happy to have taped it. Great cast! Unforgettable: Maury Chaykin as Elvis-like Freeborn.

The cast includes Daniel Day Lewis and Joan Cusack, who one thinks could turn out stunning performances with the worst scripts. This isn't the case.

The main reason I actually wanted to watch this movie twice is because of the in-jokes that only Southerners, and Atlantans especially, would get.

In one scene at an Atlanta hotel, the Marriott Marquis was transformed into a parody of another major hotel which once had a "lake" in its lobby, and a long-standing restaurant with an overworked Civil War theme.

I highly recommend seeing this movie at least once if you lived in Atlanta in the 80's. It's also good, I would think, if you've had experience with stubborn patriarchs and traveling art buyers, but that's probably a smaller group.

A very strange fish-out-of-water comedy with straight-laced stiff-upper-lip British art dealer Daniel Day-Lewis sent down South to try to purchase a priceless painting from kooky patriarch Harry Dean Stanton and contending with the various family lunatics. The tone of the film is quite uneven and the comedic moments are more mildly amusing rather than laugh-out-loud funny. Other films and books have done both the "normal guy out of his depth" and lampoon of the Southern Gothic family more expertly, but that is not to indicate that the film does not have some memorable moments. Some of the supporting performances are well done, particularly Maury Chaykin's obnoxious Elvis-garbed bully son and Martha Plimpton, as the sex-crazed teenager, who accompanies Day-Lewis on his trip. Unfortunately, others like Joan Cusack, Glenne Headley, Will Patton and Laurie Metcalf are either stuck with overly broad roles or limited screen time. Pat O'Connor's direction is rather clumsy and rough resulting in a film that moves in starts and stops, and misses the mark more often than not. Arguably the most interesting reason to see the film is Day-Lewis himself. Usually he plays straight dramatic roles filled with sweaty angst, it is rare to see him in a comedy, much less playing such a well-intentioned, discombobulated dweeb. He is surprisingly appealing and throws himself body and soul into the part, even when the film does not remotely deserve such consideration. It is a shame that he has refrained from doing much comedy, because he does show some skill in frantic slapstick moments - whether running around a hotel trying to prevent the meeting of two women or escaping from gangsters buck naked after being forced to strip. Not to digress, but Day-Lewis' surprising full frontal nude scene during the strip and escape is certainly another plus for any fans of his as, much like comedy, nudity is something he rarely does in his dramas.

I stumbled across this film on HBO years ago, and am so glad I recorded it, as I could never find it on DVD. I have always been a big Daniel Day Lewis fan, and this is unlike anything else I have ever seen him do. It is hard to believe this is the same year he appeared in "The Unbearable Lightness of Being;" what a contrast! It truly demonstrates his range and willingness to completely inhabit any role he takes on. Make no mistake- it is a really quirky film, but there are hilarious moments, and the supporting cast contribute to the overall effect. Just go with the flow!

My review was written in March 1988 after watching the film at a Manhattan screening room.

In David Puttam's legacy at Columbia Pictures, "Stars and Bars" represents a major faux pas. Unfunny mixture of farce and misdirected satire has no conceivable audience apart from undiscriminating pay-cable viewers.

Project was developed by Puttna, but given to his ex-partner Sandy Lieberson to produce after Puttnam acceded to head of Columbia. Though an American picture, it features a high complement of U. K. personnel behind the camera.

Scripted by William Boyd from his novel, thin story line follows the misadventures of a Brit in America, or rather someone's view of what America is like (targets of Boyd's satire are all straw men). Daniel Day-Lewis plays the hapless hero, an art expert sent by his boss to acquire a rare Renoir painting (worth about $10,000,000) from hayseed Harry Dean Stanton, who claims to have bought it for $500 in France in 1946.

Bulk of the pic deals with Day-Lewis' interactions with Stanton's weird brood, including Maury Chaykin as his Elvis-imitating son who already has sold the painting to unscrupulous, rival New York art dealers. Nonsensical gags and caricatures represent a real comedown from Hollywood's cutesy but effective portrayal of Southern goofballs, especially in such funny films as the 1945 Fred MacMurray vehicle, "Murder, He Says".

Add to this concoctions some awkward bedroom farce (Day-Lewis unconvincingly juggling his new pickup, Joan Cusack, at an Atlanta hotelwith his fiancee Laurie Metcalf) that wouldn't pass muster as a West End farce for the tourist trade, and pic self-destructs rapidly. Helmer Pat O'Connor evidences no feel for comedy, having the cast overact unmercifully, except for standup comic Steven Wright (as Day-Lewis' business rival) who maintains his familiar deadpan pesona.

Day-Lewis is downright embarrassing, suffering through two extended nude chase scenes and nearly bursting a blood vessel in his uncharacteristic turn. Stanton is wasted in the sort of role he graduated from a decade ago and juve actress Martha Plimpton is miscast in a precocious temptress role.

Supporting cast is one long in-joke, featuring tons of New York talent whose presence will mean nothing to national audiences and add nothing to the picture, e.g., Spalding Gray, Rockets Redglare. Structurally the fact that Will Patton (recently impressive as the villain in "No Way Out") has a key role but doesn't show up on screen until two brief scenes in the final reel is mystifying.

Sting contributes an excellent theme song "An Englishman in New York", from his latest LP, which is pointlessly reprised near the end of the film.