Cat Nap


I fell asleep for 30 minutes watching "The Cat's Meow." Here's the busted ass movie review i wrote for my Cultural Affairs class. It took me 72 minutes to complete it. In other news, I received Second Place for Best Trend Story for my Britney Blog piece of shit I wrote last week...Prof Garland pointed to my shit as an example of incorporating one's own voice into a piece. I have discovered that in order for people to think your shit is distinct all you have to do is write 'urine' and 'pee' and you're gravy...

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Although mostly dripping with the moral corruption, guilt, and ambiguity of a 1940s film noir flick, The Cat�s Meow is a film that takes on characteristics from several different genres -- the result of which is a movie that lacks a consistent mood throughout and leaves the audience seeing the same scenes done a dozen different ways.

The movie, released by Lion's Gate Films, revolves around the mysterious 1924 death of the man credited with creating the Hollywood studio system, Thomas Ince (Cary Elwes), aboard the extravagant yacht of media mogul William Randolph Hearst, who is played by the multi-faceted Edward Herrmann.

The meat of the film takes place between two pieces of bread. The top bun is when Hearst�s famous guests, including Charlie Chaplin (Eddie Izzard) and actress Marion Davies (Kirsten Dunst), board the yacht for a weekend to celebrate Ince� birthday. The bottom bun is when Ince is wheeled off on a gurney, a bullet lodged in his brain.

Jennifer Tilly is mustard. She plays a ditzy yet resourceful Louella Parsons, the legendary Hearst gossip columnist, and she provides both comic relief and just the right amount of flavor to keep things from getting bland.

The ensemble cast has director Peter Bogdanovich giving us all the elements of a murder mystery but with no murder, at least not until the end. This seemingly backwards approach leaves the audience not trying to figure out whodunit, but when who will do it and why he is taking so damn long. Indeed, the most interesting scenes in this film occur in the last half hour, after Ince is shot.

While Bogdanovich mostly fails with creating an engaging narrative as he attempts to delve into the historic scandal that unfolded during the weekend cruise, the strength of this film lies in the complexity of his characters, particularly with Herrmann�s portrayal of media ogre Hearst, who is referred to as �W.R.� by his stuffy Hollywood peers, but more affectionately as �Willie� by his youthful mistress Marion Davies. Hearst�s obsessive desire and jealousy sometimes borders on lunacy, but is countered with vulnerability and finally, the pure power Hearst has over others, both in the media and interpersonal relationships.

Dunst delivers a solid performance as the starlet Davies and seems right at home playing the ing�nue. With her classic Hollywood good looks, Bogdanovich makes a wise choice in casting her. Although Dunst radiates with almost na�ve prettiness, her intelligence and sometimes-devious motives are communicated through her eyes. Eddie Izzard plays a charming and self-assured Charlie Chaplin -- the man Hearst suspects Davies is having an affair with -- but does not play the lechery to the hilt which the role requires.

The film�s dialogue is sharp and witty throughout; sometimes cleverly annoying but for the most part simply clever. The scenes between Hearst and Ince as they negotiate ways to eliminate Chaplin from the equation and other devious arrangements, crackle with double meaning and contributes to the overall dark feel of the film, despite the gaiety of their continuous flapper parties and dancing of the Charleston.

In a similar fashion, the dialogue, the actor�s performances and the direction Bogdanovich gives them all contribute to the general mood of the film and the result is one big double entendre that will leave impatient movie-goers irritated. But for those who hunger for allusion, innuendo, and other shady elements dessous des cartes, this film will satisfy.

-30-

I give this movie 3/5 ddong balls.