The Boyfriend School

Having just won a battle against leukemia cartoonist Gus Kubicek (Guttenberg)is bald, chubby and not to mention lonely his novelist sister Lizzie Potts (Long) tries to set him up with suitable women. Emily Pear (Gertz) is a young and beautiful reporter whose looking for the right man, after a disastrous first meeting with Gus Lizzie takes it upon herself to transform her brother into a hunk of a man. After a new makeover Lizzie gives him a new name not to mention accent he is now known as Lobo a bad boy biker from New Zealand. Emily finds herself in love with him but Gus wonders if she could ever love the man he really is or a fake dream guy. Steve Guttenberg gave a funny yet touchy performance as Gus Kubicek and Lobo while Jamie Gertz adds a nice touch as his love interest 7/10 Stars

An overweight cartoonist (Steve Guttenberg) who has just finished with chemotherapy after almost dying of cancer quickly falls in love with Jami Gertz. Gertz is dating super-jerk Kyle MacLachlan though and honestly she has no attraction to Guttenberg. Guttenberg is the best person you can find though and unfortunately his inward beauty is not matched by his physical appearance. Older sister/novelist Shelley Long looks to change that though by turning Guttenberg literally into someone else physically and proving that Gertz is as superficial as she appears. This will of course give inspiration for a new book, but what happens when Gertz falls for Guttenberg? And does she fall for him because of his outward appearance, his inner-beauty or both? For the genre not bad at all, but still unremarkable all the same. The performers are all basically more at home with slapstick comedy or television sitcoms. Though kind of dumb and never too intelligent, the movie still has an admirable heart. Fair little date night movie, but once again nothing overwhelming. 2.5 out of 5 stars.

The Boyfriend School has to be my favorite comic novel of all time, followed closely by Kotzwinkle's Midnight Examiner. I was disappointed that the screenplay told the story from Gus's point of view, which removed the element of surprise that made the novel so wonderful. Gretchen got turned into an "Emily," when one of her self-esteem issues had to do with her name.

And what happened to Juanita? I loved Juanita! I can't bear to talk about what was done to the character of Trout. However, the casting of the main characters, Lizzie, Gus, and the newly christened "Emily," was excellent. I'm waiting for a remake from the point of view of Gretchen. The novel is still at the top of my list and lying in permanent repose on my nightstand, with a "loaner" copy available for my friends.

Another engrossing and insightful piece of filmmaking from Malcolm Mowbray, proving once and for all that his name deserves to be mentioned in the same breath as Truffaut, Godard and Chabrol. However, it is not for Mowbray's talents that this film will be remembered always; in 'Don't Tell Her...', we at last find a stage upon which Steve Guttenberg's talent may shine, and shine alone.

Guttenberg essays the role of Gus Kubicek, recovering from a recent illness which has forced him to confront the truth of his own mortality. In a touching scene, clearly reminiscent of the closing moments of Nagasa's Ai No Corrida, Kubicek's sister (Shelley Long) pledges to support him in the quest to recover a semblance of his sense of self.

What follows is a poignant and moving account of one man's struggle to pretend to be a biker from New Zealand. Surprising, shocking and at times brutally honest, it is only by virtue of Guttenberg's sheer, uncompromising talent that the film remains as fluid and engaging as it is. He gives a breathtaking performance, the unique subtlety of his acting almost imperceptible as he deftly switches between the persona of the overweight cartoonist and the biker from New Zealand. Unencumbered by having to share the screen with the clumsier talents of Selleck, Danson et al, Guttenburg turns 'Don't Tell Her' into a stunning and exhilarating tour de force, elevating the film to a supern example of highly original post-modern cinema verite.

I remember watching this movie when I was a mere slip of a boy. I really enjoyed it, as I recall. Granted, the plot was sort of hard to believe, but I think the storytelling more than made up for it. This is definitely a good movie. It's good to see if you're wanting a pick me up, because you'll walk away just smiling and thinking, "Yes, all is right with the world". It's bad to see if you are lacking a significant other, because you'll walk away with this wistful feeling in your heart, thinking, "I wish that were me". Seriously. In any event, I advise renting it.