(2005) Dramedy (Magnolia) John Malkovich, Honor Blackman, Richard E. Grant, Bryan Dick, Burn Gorman, Leslie Phillips, John Leyton, James Dreyfus, Marisa Berenson, William Hootkins, Ayesha Dharker, James Faulkner, Jim Davidson, Henry Goodman, Rebecca Front. Directed by Brian W. Cook
Once upon a time there was a con man named Alan Conway (ironically enough) who made his way through London by convincing people he was the legendary director Stanley Kubrick. Although looking nothing at all like him, he managed to pass himself off to a number of people with a combination of charm and brazenness until he was discovered.
Conway (Malkovich) uses his assumed identity for everything from drinks to sexual encounters with young men. He makes vague promises about roles in movies in both cast and crew; he gets in tight with a renowned stage artist named Lee Pratt (Davidson) on the promise of developing a show in Vegas for him. At last the New York Times theater critic Frank Rich (Hootkins) helps expose Conway’s ruse.
While the events are real enough, Cook and writer Anthony Frewin took enough liberties with the story to make the film, as they describe it, true-ish. The real Kubrick became aware of Conway but was helpless to do anything about it as his victims refused to press charges out of sheer embarrassment.
This is Malkovich’s film and he turns in a performance that is equal to any of his best-known works. He is obviously having a good time with the character who in turn was having a good time with his deception. One gets the sense that Conway was amazed at how taken in people were by his shenanigans and got a big kick out of it. Malkovich is also getting a big kick out of it and that not only contributes to the enjoyment of the movie but is almost entirely the raison d’être for the film.
Unfortunately, there’s a little too much of Conway doing his thing and it’s often the same thing. There were a lot of scenes that seemed unnecessarily repetitious and I found my attention wandering at a few points in the movie, never a good sign. Fortunately, they had Malkovich to regain it and over and over again he did just that.
Personally I would have liked to have seen more of the aftermath of his doings; basically they’re treated as harmless and amusing by the filmmakers and I suspect they were anything but. We also get no sense of what Kubrick thought of all this, whether he was amused, annoyed or angry – all we know is that he wanted it to stop.
This is certainly worth checking out if for no other reason than to watch Malkovich at his very best. The movie overall is good fun, mostly harmless but certainly there’s a devilish edge to it that makes you feel wicked for enjoying it quite so much. It’s not quite a guilty pleasure because it’s actually a pretty good film – but you feel guilty for taking pleasure in watching it just the same.
WHY RENT THIS: A deliciously arch and twisted performance by Malkovich.
WHY RENT SOMETHING ELSE: Lost my interest in places, a big no-no.
FAMILY VALUES: There’s some sexuality here.
TRIVIAL PURSUIT: Both the director and writer of the film worked with the real Stanley Kubrick on several of his films near the end of his career.
NOTABLE HOME VIDEO EXTRAS: Nothing really but footage of the real Alan Conway turns up on the making-of featurette which gives you a little more reason to watch it.
BOX OFFICE PERFORMANCE: $497,009 on an unreported production budget; it’s unlikely the movie turned much of a profit if any at all.
COMPARISON SHOPPING: Catch Me If You Can
FINAL RATING: 6/10
NEXT: Johnny English Reborn