Dr. Leonard Schiller (Frank Langella) is a novelist and retired college professor whose body of work includes a novel many critics considered a great classic when published decades ago. But that was then this is now as Schiller struggles to finish his latest novel one that has so far taken him 10 years to write. Into his life comes Heather (Lauren Ambrose) a brash college student who is writing her thesis on Schiller and his work. She’s a pretty beguiling thing filled with ambition and drive; and those are exactly the things that Schiller has somehow lost along the way. As the two of them form an uneasy relationship with Schiller’s daughter (Lili Taylor) as a third part of this emotionally repressed triangle the story unfolds with twists and turns. The finale reminds us that no matter how old we are if we want to do something artistic then even Starting Out in the Evening of our lives is better than never getting going at all. Langella’s stellar performance is at the heart of this quietly affecting film. He plays Schiller as an insulated emotionally bereft artist whose life spark died the moment he lost his wife (decades before) in a car crash. He’s never had the passion to write to the level he did before she died; nor has he had passion for much of anything else including his daughter until Heather shows up at his door and insists he begin to feel life again. Ambrose (of Six Feet Under fame) is perfectly cast as the young woman who hero-worships this much-older man and who brings him back into a passion for living by her mere presence. Their story is real and affecting as is the subplot of Schiller’s daughter whose life is passing her by much as her father’s. By the time the film ends both father and daughter have had life-altering experiences due to the catalyst created by this stranger in their midst--and both are the better for it. With Starting Out in the Evening director Andrew Wagner has fashioned a subtle quiet vision of Brian Morton’s award-winning novel of the same name. He certainly seems to understand the inherent pressure of having a youthful success in the arts. What does one do next after giving the world a masterpiece while still in an early part of one’s life? For his main character that struggle and question have become overwhelming with the result being his shutting down to any of life’s more joyous or emotional experiences. There’s a lot going on under the surface of this film a directing technique Wagner may have absorbed from his famous uncle Mark Rydell who directed On Golden Pond a picture with some similar themes. The downside to Wagner’s technique is in his pacing for there are moments where the movie moves so slowly it is hard not to be bored. But by the final frames there is an emotional resonance to the story that cannot be ignored especially if the viewer is someone who aspires to excel in any of the world’s creative disciplines. This makes Starting Out in the Evening a worthwhile experience for nascent writers artists musicians etc. And a warning as well: to pace yourself for the duration of your life rather than explode on the scene with nothing left to give once an impression has been made.
As the opening song belts out fast cars champagne and caviar are what professional basketball player Jamal Jeffries (played by Miguel A. Nunez Jr.) is all about. In fact Jeffries is so taken by his own success that he doesn't sign autographs but uses a stamp. His Dennis Rodman-style antics however reach a breaking point when he strips during a game in front of millions of fans and flings his jock strap into the seats. The stunt gets him thrown out of the league and before he can say "slam-dunk " Jeffries loses his house his cars and his girlfriend. Desperate to work again at the one thing he does best Jeffries comes up with the mother of all schemes: He shaves his legs dabs on mascara and tries out for the women's league--and it works. But as he builds friendships and gains the trust of the women on his team he feels torn between his obligation to his team the Banshees and his need to return to a normal life. If you've seen the 1982 comedy Tootsie you know exactly how this film plays out. Surprisingly Juwanna Mann is not crammed with bad slapstick humor but is an entertaining twist on an old classic with a delightfully sweet storyline.
Nunez (Nutty Professor II: The Klumps) not only pulls off the Jamal/Juwanna character with ease but he pretty much steals the show here. His character comes off as endearing rather than obnoxious because he takes his role as a woman seriously and is never condescending about playing in the women's league. Nunez also delivers some great one-liners the best being when he is fighting off advances from the gold-toothed Puff Smokey Smoke. Vivica A. Fox (Two Can Play That Game) plays Michelle a fellow player whom Jeffries develops feelings for. Although it's hard to buy the sweet and almost delicate Fox in such an athletic role she pulls it off--but there is not all that much chemistry between her and Nunez. As Jeffries' crass sports agent Lorne Daniels Kevin Pollak (3000 Miles to Graceland) is seedy with just the right touch of humanity so his character is not completely despicable. The most cartoonish and unlikable character is Tommy Davidson's (Bamboozled) Puff Smokey Smoke. He has some funny lines but is too far-fetched to be believable.
Jesse Vaughan who directed a season of In Living Color makes his directorial debut with Juwanna Mann. Judging from the trailer I thought the film would be a low-brow comedy with a lot of overdone men-in-heels humor. I was instead pleasantly surprised by the film's storyline which--although it is a complete take on Tootsie--is short sweet and non-offensive. While some characters like Puff Smokey Smoke are a bit over the top Nunez's Jamal/Juwanna character is never clownish and well developed enough that you can't help but feel for his/her predicament. Some scenes appear to have a Klumps influence like the scene in which Jeffries is playing cards with his aunt and a gang of her senior friends but the overall effect is a moderately funny film peppered with some slightly funnier moments. Newcomer Bradley Allenstein had the sense to deliver a sweet comedy screenplay that was short enough and knew when to quit.
After 20 years with the LAPD Det. Mitch Preston (Robert De Niro) just wants to catch the crooks finish the paperwork and retreat to his mundane life at home where he eats TV dinners and pursues his hobby of making bad pottery. Patrolman Trey Sellars (Eddie Murphy) really wants to be an actor--he's only a cop because he made a lousy waiter. When Sellars bungles Preston's undercover case and media hounds catch it all on tape the irate Preston shoots up a news camera that gets in his face. Over-caffeinated network exec Chase Renzi (Rene Russo) upon seeing the damning evidence that could have killed her cameraman is captivated by Preston's complete lack of charm and convinces her superior she can save his crappy network by pairing Preston and Sellars up on a reality show. As expected Preston is reluctant--and even more so when he's forced to take the mugging Sellars as his partner. The two take impromptu acting lessons from iconic actor/director William Shatner (playing himself) and set off to attract an audience boost the ratings become celebrities and get the bad guys in a televised reality christened Showtime. Meanwhile the evil Cesar Vargas (Pedro Damian)--whom we know is evil 'cause he hides in the shadows he's flashy and well groomed and he mumbles in an unfathomable Third World/ European accent--is stockpiling guns powerful enough to knock down houses and blow the doors off a Brinks truck.
The movie offers a few good yuks--a coke-sniffing dog an unprecedented cameo by jive-rhyming lawyer Johnnie Cochran and William Shatner satirizing William Shatner (who does this better than anybody else satirizing William Shatner). Unfortunately we've seen a lot of his funniest stuff like the scene in which he demonstrates how to roll over a car hood cop-style in the previews. Rene Russo gives an effective souped-up Lethal Weapon-type performance with her hyper pushy fast-talking network exec desperate to make her name in the industry. De Niro's straight-man comedy is in his facial expressions--or lack thereof--and Murphy is…well Murphy. It's their first outing together and they play off each other like a foul-mouthed version of Abbott and Costello (guess who plays who?). We've seen De Niro play grumpy (Midnight Run) and Murphy play obnoxious (almost everything) before. But as you may suspect it's their grade-A chemistry that holds this badly stitched predictable though occasionally funny flick together--especially in regards to the jokes on Hollywood and the current bounty of reality TV.
You can smell the gags and The Odd Couple-versus-Goldfinger plot unfolding a million miles away. You just know Preston is hiding a gun inside that Big Gulp when he goes undercover to investigate a pawn shop and you know Vargas will make bad-guy errors in judgment like staging a robbery in downtown L.A. the day after he's confronted by our star cops in a populated disco. But that may lead you to wonder why the police--who are likewise not presented as being particularly bright in this movie--weren't trailing him as Vargas is the prime suspect in the gun-trafficking subplot. Some of the comedy borders on satire but isn't played up enough for you to tell if it was meant that way or not. The action scenes are so badly edited it's hard to tell who's chasing whom until the camera cuts back to Murphy's toothy grin and a cement-faced De Niro shooting out his car window. And speaking of commercial-laden reality TV the product placement in this movie is shameless--we get a full-length commercial for Apple Computers played not once but twice.