Max Rose

Well scripted, well acted love story beautifully acted but exquisitely slow .

MAX ROSE must get distribution. If/when it does, Jerry Lewis will win an Oscar for Best Actor.

If you only know Lewis as the icon rubber-faced "HEY LAAAAADY" comic of films like THE NUTTY PROFESSOR and CINDERFELLA, you are in for a delightful surprise. Even if you loved Jerry in Scorsese's brilliant KING OF COMEDY, you'll still be shocked by the depth and delicacy of his performance in the title role, a man whose life begins to unravel after the death of his beloved wife of 60+ years, Eva -- beautifully played by Clare Bloom.

Lewis has been prepping for his role for more than 3/4 of a century and he lights up the screen. Seeing his work here makes me wish he'd done more than the slapstick comedies that made him an icon. He's a damned fine dramatic actor.

Writer-Director Daniel Noah has crafted a story that is at once tender, heartbreaking, honest, textured and captivating. It is that rarest of things - an actual "movie" with a plot and compelling characters.

Noah allows Jerry to pay subtle homage to his own past without overshadowing the heart, the drama or the honesty of Max's odyssey.

The supporting cast is excellent, notably a group of 80-somethings including Mort Sahl and Rance Howard.

Daniel Noah is a filmmaker to be reckoned with. I hope this film brings him the success he deserves.

Mort Sahl is the only reason to see this. It's obvious he writes his material - he did this in the 50's and every other decade, usually his stand-up routine.

As for Jerry Lewis, I don't feel anything for him. At least he's not playing the silly role, but there isn't much here. Took 3 years to even distribute. The movie was considered so bad that the French wouldn't show it!

Memory is a funny thing, it ebbs and flows with one's mood and circumstances and so does perspective. In Max Rose, we meet a recent widower (played by Jerry Lewis), who finds reason to believe that his wife of 65 years, Eva (Claire Bloom) was in love with another man. He declares at her funeral that the marriage "was a lie." Max, who is already a cantankerous old man, becomes even more recalcitrant after his loss and engaging in a revisionist journey wherein he lets his own demons pollute his mind. Lewis, in his first feature role in more than 20 years, does well in presenting the depression and anger that Max suffers, and it is perhaps the most redeeming quality of the film because something else is still missing. Read more of my review here: https://indieethos.com/2016/09/23/max- rose/

Greetings again from the darkness. It's pretty rare that an actor goes twenty plus years between lead roles, but such is the case for the legendary comedian and Muscular Dystrophy telethon host Jerry Lewis. Writer/director Daniel Noah's film was shown at Cannes Film Festival in 2013 as part of the tribute to Lewis, but it's taken about three years for it to gain any type of United States distribution.

The film begins with a grief-stricken Max Rose (Lewis) dealing with the death of Eva, his wife of 65 years (played by the great Claire Bloom). We see Eva in flashbacks to little life moments, and also as an apparition and conversation partner as Max tries to solve the mystery of a 1959 make-up case … it's a mystery that could destroy Max's memories and the accepted version of his life.

Max is being looked after on a regular basis by his doting granddaughter (Kerry Bishe) and periodically by his son (Kevin Pollack), who has more than enough stress in his own life. Max, a retired jazz pianist, has clearly never been the warmest or most open of gents, and the eulogy he delivers at Eva's funeral can best be described as self-centered.

Soon enough, Max has moved into an assisted-living facility and the best scenes of the film find him re-discovering life with the likes of Rance Howard, Lee Weaver and Mort Sahl. Unfortunately this sequence is short-lived and Max is back on the trail of the mystery make-up case … which leads him to the mansion of a movie producer named Ben (or BS, if you're looking for a punchline). Dean Stockwell and Jerry Lewis are two screen veterans who know how to work off of one another, but just aren't given much to work within their time together.

And that's probably the film's greatest weakness … it leans heavily on nostalgia. Seeing Jerry Lewis (age 90 today) back on screen generates a warm feeling – as do Ms. Bloom and the other old-timers, but the story is just too simple to provide any real insight or commentary on aging, loss, or family stress or secrets. The combination of nostalgia and sentimentality can work provided there is more depth – something that's simply lacking with our story and characters.

Mr. Lewis gamely plays an unsympathetic character, and does capture the cantankerous nature that we've all witnessed in some elderly folks. There is even a laugh out loud moment featuring knitted pot holders, and we do get Lewis in a red clown nose – fortunately without his "Hey Lady!" voice. What's missing is the depth required if one plans to tackle a theme like making peace with the past … especially when the past isn't there to defend herself.