Barney’s Version


Barney's Version

Hey did you hear this one? A man walks into a bar and...oh never mind.

(2010) Drama (Sony Classics) Paul Giamatti, Dustin Hoffman, Rosamund Pike, Scott Speedman, Minnie Driver, Bruce Greenwood, Rachelle Lefevre, Saul Rubinek, Mark Addy, Macha Grenon, Paul Gross, Anna Hopkins, Jake Hoffman, Thomas Trabacchi, Cle Bennett. Directed by Richard J. Lewis

All of us live two different lives; the lives that everyone sees, and the ones we actually live. It is when you see our own version of our lives that you begin to see us as we truly are.

Barney Panofsky (Giamatti) is a television producer for a horrible soap opera called “O’Malley of the North.” He smokes Montecristo cigars, drinks far too much and is crude and curmudgeonly to one and all. He has good reason to be; he is divorced and his ex-wife married a putz; to make matters worse, a retired police detective (Addy) has recently published a book that essentially accuses him of murder. That can ruin your entire day.

Barney wasn’t always like this. Once he lived a Bohemian existence in Rome with fellow artistic types like Leo (Trabacchi) – a gifted painter, and Boogie (Speedman) a gifted writer and even more gifted junkie, and then there’s Cedric (Bennett) who’s gifted at….well God knows what. Barney is getting ready to marry Clara (Lefevre), a gifted painter and poet who is, well, more Bohemian than most if you get my drift. Most everyone thinks this is a terrible mistake, with Boogie hissing “She’s a conversation piece, not a wife” but Barney got her pregnant, so he’s willing to man up and do the right thing. 

Except when the baby is stillborn and turns out to be as black as, well, Cedric, it puts an awful crimp in their relationship. When Barney blows off a reconciliation dinner with Clara (mainly because Boogie, in a stupor as usual, forgot to give Barney the invitation), the consequences are severe.

Barney returns home to Montreal where he is set up with and eventually marries the daughter (Driver) of a sour but wealthy man who disapproves of basically everything Barney is. Barney’s dad, Iz (Hoffman) is a lively Montreal detective who cheerfully admits his career didn’t advance because of his Jewishness. It doesn’t seem to bother him that much; he’s just glad to be there for his son, who is certainly a chip off the old block.

At his wedding reception, Barney meets Miriam Grant (Pike), a beautiful and erudite New Yorker who works in the radio business. Barney is immediately head-over-heels smitten with her, going so far as to follow her to the railway station, offering to take her on his honeymoon with him. She naturally declines but Barney continues to woo her in the intervening years. 

Meanwhile, Boogie’s addictions are getting worse, much to the dismay of Barney’s nameless wife because Barney takes it upon himself to care for his addled friend. One day he returns to their country lakeside property to find Boogie schtupping his wife. While Barney feigns indignity, he is actually delighted. Now he has the ammunition he needs to get the divorce he wants, leaving him free to pursue Miriam which, as it turns out, won’t take much. 

However, the problem is that Boogie has disappeared after a loud and violent argument with Barney and the now former Mrs. Panofsky said in her statement that he had threatened to kill Boogie, leading a particularly brutish detective to beat the crap out of Barney until Iz intervenes. Still, things are looking up for Barney despite the cloud of the investigation that hasn’t even yielded up a body much less a crime.  

Soon Barney and Miriam are together as it was meant to be. They make a family with daughter Kate (Hopkins) and son Michael (Jake Hoffman). A neighbor on the lake where their country house is located, Blair (Greenwood) even has radio connections and is able to get Miriam some work. However, when things are at their best is often when things are about to come crashing down about your ears. 

This Canadian production, based on the last and arguably the best novel of distinguished Jewish-Canadian author Mordecai Richler (he of The Apprenticeship of Duddy Kravitz fame) has already been distinguished in that Giamatti won the Golden Globe earlier this year for Best Actor in a Comedy (which by the way is not really an accurate classification for this movie). Unfortunately, Giamatti didn’t get an Oscar nomination, largely because the field was so strong this year but he could easily have done. His portray of Barney Panofsky is unforgettable and might even be a better performance than the one he gave in Sideways.

He has a strong backing cast. Dustin Hoffman is still as elfin and charming as he’s ever been and Iz Panofsky goes right up there in his pantheon of memorable characters, which is saying a lot. He is absolutely incandescent whenever he gets onscreen. Likewise is Rosamund Pike, a wonderful British actress who is just now beginning to get noticed over on this side of the Atlantic. As with Giamatti, this is her very best performance to date. As the long-suffering Miriam she puts up with her boorish husband and perhaps comes closest to understanding him of anyone until he makes the one transgression that she cannot forgive.  

While there are comedic elements, this is most certainly not a comedy. It’s very painful to watch in places and I spent the last 20 minutes in tears as I watched things fall apart. Sometimes the things we want most in life are the things we can’t have – not because they are unobtainable, but because we don’t have the wisdom and maturity to recognize how to keep them. It is true that the ending of Barney’s Version is very sad, but the movie is not about that; rather, it’s about the journey and taken as a whole, this isn’t a tragedy, not really.

REASONS TO GO: Giamatti, Hoffman and Pike all deliver standout performances. This critic was moved to tears by basically the last 20 minutes of the movie.

REASONS TO STAY: May be too intense and hit too close to home for some.

FAMILY VALUES: There is some foul language; a goodly amount of it in fact, and some sexual content.

TRIVIAL PURSUIT: Izzy Panofsky and his grandson Michael are played by, respectively, Dustin and Jake Hoffman who are father and son in real life.

HOME OR THEATER: This is playing in limited release and is worth seeking out on the big screen; however chances are you have a better shot at seeing it on home video, streaming or on-demand.

FINAL RATING: 9/10

TOMORROW: Tuck Everlasting

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The Fog (2005)


The Fog

Driving Miss Daisy, this ain't!

(2005) Supernatural Horror (Columbia) Tom Welling, Maggie Grace, Selma Blair, DeRay Davis, Rade Serbedzjia, Kenneth Welsh, Adrian Hough, Sara Botsford, Matthew Currie Holmes. Directed by Rupert Wainwright

One of the most underrated of John Carpenter’s movies was his follow-up to Halloween, 1980’s The Fog. Although there were cheesy elements to it (heck, that wasn’t uncommon for any horror film of the era), it still was a genuine creepfest and still gives me the chills whenever I watch it even now, a quarter of a century later.

When they announced the remake of it, I wasn’t terribly enthusiastic. I’ve found most of the horror movie remakes of classic ’70s and ’80s scare flicks to be uneven at best – few have really done little more than to update the stories for a more modern audience. I didn’t hold out hope for much better from this.

Antonio Island is celebrating the centennial of their founding, but there is a terrible secret harbored by the remote Northern California seaport and it is born on the fog. Nick Castle (Welling), a charter fishing boat operator, has to put up with a ne’er do well first mate named Spooner (Davis) and a boat that has seen better days. Still, they manage to make ends meet, but while on a charter their anchor dredges something up from the bottom – artifacts of a bygone age that have been at rest for a hundred years.

Back on shore, Nick is surprised to encounter an old flame, Elizabeth Williams (Grace) walking to town from the pier. She had left suddenly five years ago without really resolving things between them, and he had been hurt by it. He was just now beginning to get involved with the pretty single mom DJ Stevie Wayne (Blair) but now he is torn.

In the meantime, Spooner has taken out Nick’s boat to party with a couple of bikini clad girls and Nick’s cousin Sean (Holmes). But a heavy fogbank is headed their way unbeknownst to them, and moving against the wind. Before you can say “bad things are going to happen,” bad things happen.

Spooner survives the mayhem, but is considered primo suspect number one for the murder of the other three. His story is completely whacko about ghost ships and fog banks, so his friend Nick goes out to find out what’s going on. He and Elizabeth discover a startling truth – that the town was founded on blood money stolen from a colony of lepers who were then burned alive on the ship that they thought was going to take them to a new home. That kind of thing can piss a ghost off.

The effects are much more sophisticated than in the original fog, but then again they don’t use nearly as many effects as you would think they might, director Wainwright wisely allowing the natural setting of the fog-shrouded town to create an atmosphere of creepiness that carries the film. The problem is that the characters are a bit faceless. Welling is a good-looking lead, but he doesn’t really carry the film like you think he might. He does better in his role as Clark Kent in “Smallville,” but here he seems a little bit passionless.

Grace and Blair are both lovely to look at, but Grace is given not a lot of character by the script; she exists mainly to move the plot along. Blair has a bit more to chew on as a character, and takes advantage of it. I’ve always wondered why we don’t see more of her in the movies – she was certainly marvelous in Hellboy.

There are a lot of plot holes in the script – for example, they clearly state that they are celebrating the hundred year anniversary of the town’s founding, and they clearly link the founding of the town to the nefarious acts with the lepers, but they also clearly state that those events took place in 1871 and it is even more clear that the movie is set in contemporary times, not in 1971 which would be accurate. Whoops.

Still, despite all that, I liked the movie, I liked the atmosphere that was created, I liked Blair and I really liked the climax of the movie. It’s certainly far from perfect, but it’s a nice evening’s entertainment, particularly if it’s a dark and stormy evening. 

WHY RENT THIS: Atmospheric to the max. Blair is a particularly good performer and easy on the eyes, as is Grace.

WHY RENT SOMETHING ELSE: Weilling is unaccountably bland. Cheese factor a little high for modern horror fans.

FAMILY VALUES: There’s plenty of violence, a little sensuality and enough bad language to be…bad.

TRIVIAL PURSUIT: Debra Hill, the co-writer of the original movie and given a producer’s credit here, died shortly before filming began.

NOTABLE DVD FEATURES: There is a nice feature on the special effects which show how good-looking effects can be accomplished on a tight budget.

BOX OFFICE PERFORMANCE: $46.2M on an $18M production budget; the movie made money.

FINAL RATING: 6/10

TOMORROW: Country Strong