February 22, 2002 11:20am EST
Vietnam vet Leon Barlow is going through a terrible patch. His bitter separation from wife Marilyn resulted in a restraining order and he sees his kids Alan and Alisha only occasionally. His writing career is definitely in question because day after day returned manuscripts and rejection letters arrive in his mailbox. Still Leon manages to tap out prose in the shabby house he shares with a mangy mutt in a rural Mississippi outpost. Leon's best pal Monroe throws him a painting job now and then but is little more than a drinking buddy. Their mutual friend Velma is fun to party with at local dives but is more Monroe's lady. Leon's carousing lands him in jail and a stint in community service after a near-fatal car accident. A terrible family tragedy sobers him up but the big turning point for Leon arrives in the form of an unexpected letter from a long-supportive editor.
Arliss Howard who also directed and co-wrote the screenplay turns in a muscular if familiar performance as the tormented writer. A logical comparison is Ed Harris' recent interpretation of Jackson Pollock an artist similarly bedeviled. But Leon's devils are a mystery--so much so that one wonders: What is this guy's problem? Still Howard has the pervasive angst and southern drawl down pat and convinces as a loser aching to be a winner. Paul Le Mat as pal Monroe is fine as the inconsequential but sweet yokel but Rosanna Arquette as Velma has little to do except look pretty. For reasons unknown Howard's real-life wife Debra Winger who plays onscreen wife Marilyn left her southern drawl somewhere under the kudzu. Whereas all the other characters ring true of Mississippi roots Winger somehow feels flown in from parts unknown. Also in a brief role Angie Dickinson as Leon's mother makes a very welcome return to the big screen. Sigourney Weaver lends some relief and her voice as an unseen editor.
Director Howard co-adapting with his brother from short stories by Larry Brown has slapped on enough style for three films to the extent that
Big Bad Love too often makes no sense. Worse whatever the story is here (surely it's more than that writers get lucky if they wait long enough) is lost. Howard making his directorial debut resorts to loads (overloads) of flashy devices: cryptic montages fantasy sequences solemn fade-outs noisy soundtrack flourishes etc. Such directorial "virtuosity" not only saps the narrative drive but also robs the characters of the much-needed dimensions that make them real recognizable and compelling. Also with so much style crushing so little substance it's just not clear at all at several important junctures what the heck is going on.