Ein Mann für geheime Stunden

Despite the lukewarm reception by the local and national media for this film, I found myself enjoying this rehash of Faust, tremendously. It's a very old theme, but in here it is told very stylishly and with a lot of panache by director George Hickenlooper based on the screenplay written by Phillip Jayson Lasker.

At the outset, I must say that I'm not the greatest fan of Andy Garcia, but I have to confess that in this film he does probably his best work, despite of other praised roles in the past. His Byron Tiller is a loser. We sense it the moment we see him in Rizzoli trying to recommend his book to an indecisive customer.

His curiosity trying to find out what his office neighbor, Luther Fox, is up to, proves to be his eventual downfall. At home life seems very normal with Dena, his wife, and son. Being broke makes him accept an offer he should have turned down from the very beginning.

The encounter with the Allcotts, Tobias, a best selling author at the end of his life, and Andrea, his wife will be fatal. Are we to believe this was a chance encounter, or was it planned before hand?

Ultimately the viewer will have to arrive to his own conclusions.

All the acting is first rate. Andy Garcia is very effective. So is the rest of the cast, but Mick Jagger is superb portraying this lizard kind of a man who deals with very special situations and needs. Also notable, Olivia Williams, as the ice queen that doesn't even take off her undergarments for a tumble in the hay. James Coburn is a sly fox who knows what he's doing from the very beginning. Julianna Margulies is the only one that has very little to do as the suffering wife.

The film has a glossy and sophisticated look. Viewing it will be satisfying because basically it's a good story well paced and acted.

Being in the arts is difficult. It's damn near impossible to make a living doing something in this field because everyone wants to do it, and so much is gambled onto one product. Just look at all the hopeful actors and actresses who wait tables while praying for a big break into the movie business. You either hit it big, or end up in the gutter; there's hardly any middle ground. That is the situation that allows the events of George Hickenlooper's near masterful film, "The Man from Elysian Fields" to take place.

Byron Tiller (Andy Garcia) is a writer; he's got one book under his belt, but sales were in the tank. After his next book, which he spent 7 years working on, is rejected, he needs money...fast! Help comes from a man down the hall, named Luther Fox (Mick Jagger). He runs an escort service. Reluctantly, Byron agrees, which puts him into contact with Andrea Alcott (Olivia Williams), and her husband Tobias (James Coburn), who is a renowned author. But his newfound road to success may just cause him to lose his marriage to Dena (Juliana Margulies).

The acting is top notch. Andy Garcia plays Byron in his usual low key way, but he brings a level of depth to the character that is not usually seen in many films. Mick Jagger defies the trend of music stars churning out bomb movies because they can't act. Jagger plays Fox with a cracking wit, but he also is able to give the character some extraordinary depth. Olivia Williams is terrific as Byron's beautiful client. She loves her husband dearly, but she needs a release that he can no longer give her. Fortunately for her, Tobias understands that, and is perfectly fine with her sleeping with Byron. James Coburn is terrific as Tobias. Tobias is a dying writer who has accepted his fate with wit, if not grace. But he still has his pride. TV star Juliana Margulies has made only a few ventures into film, but she fits right in as Byron's loving and devoted wife.

Although the film has flaws, they are not with the screenplay. Simply put, this is one of the best screenplays I have ever heard. Every line has immense depth and intellect, and the wit crackles. There are a number of brilliant one-liners (the best one is not shown in the trailer, thank God). However, these are not the one-liners that appear so often in a David Spade movie. Instead, these are just very clever.

The problems I had with the film is that when the film enters dark territory, such as when it shows Byron at his most desperate, it becomes unpleasant, and it ruins the spell that the movie works so hard to cast. This is partly due to George Hickenlooper, but mainly because the actors play their parts so well.

This is a must-see for any adult film-goer who appreciates films with wit, depth and rich characters.

The Man From Elysian Fields is a film with not one bad performance, a number of really good ones, and a story that keeps it and eye-gluer, in a sense. Andy Garcia is the writer, Byron, struggling to sell a second novel after a first that is selling almost nothing after seven years. Enter Fox (Mick Jagger) who runs an escort service for women, and offers Byron to be the "fulfiller" of married women. Byron wants to quit, until one night he meets the wife of Tobias Alcott (James Colburn), a famous, aging writer. Every character is convincing, even Jagger, who has strayed away from acting roles in general since the flop Freejack, and here takes a tailor made role and gives off a fascinating presence, and Colburn makes his hard bitten writer as an occasional comic relief. The surroundings of Pasadena adds to the allure, and it's delightful in it's sweep, under the guise of honest fiction. An independent sleeper. Grade: A

No one ever accused director George Hickenlooper of being too upbeat. His films share a pessimistic world-view and a love for flawed antiheroes that has been out of vogue in mainstream Hollywood since the 1970's. While The Man from Elysian Fields is his first film as director that he didn't write or co-write, it shares the same sensibilities of his most personal films; namely a struggling artist's middle American values being a casualty of life in contemporary Los Angeles.

Andy Garcia is said artist, Byron Tiller. After his first novel received rave reviews but little sales, Byron is unable to get his second novel published. He can't afford to support his family, and after suffering a series of indignities to try and make ends meet, he strikes a Faustian bargain with a gentlemen pimp, Luther Fox (Mick Jagger) the owner and operator of Elysian Fields escort service. Tiller uneasily accepts his new role as a male escort, and low and behold his first client, Andrea Alcott (Olivia Williams of Rushmore), is the wife of a dying Pulitzer Prize winning novelist who needs help writing one last book before he dies.

From this rather novel premise (one of Garcia's first lines is 'it's a premise, it's allowed to be ridiculous'), the plot proceeds much as you would expect it to. But, hey, in tragedy, there aren't many places to go but down. What makes Elysian Fields worth watching are the performances. The late James Coburn is excellent as the crotchety old writer, Tobias Alcott. His ruminations on death are made all the more poignant by the fact that this was one of his final performances. Top billed Jagger is wonderfully understated as Fox, and Julianna Margulies does a good job of breathing life into the somewhat thankless role of Mrs. Tiller, the stock movie wife who is basically there to constantly tell her workaholic husband that she wishes he were home more.

What's really significant about Elysian Fields is the way that Garcia, Hickenlooper and screenwriter Phillip Jayson Lasker have crafted the character of Byron Tiller. The indignities that Tiller suffers at the start of the film (at the hands of the publisher who rejects his book, his father-in-law, who refuses to loan him any money and the former boss who refuses to hire him back) could have been a set up for the 'emasculated man re-masculated' plot. This popular revenge fantasy in which the white collar, white male rages against the machine (Fight Club, American Beauty, Office Space) is rendered improbable when the hero is turning tricks. This is the emasculated man, further emasculated. Garcia goes for broke, giving a brave performance as the not always likable Tiller. When he makes a last ditch effort to assert his manhood against the deceptive Mrs. Alcott, she coyly rebuffs his ranting and raving and his castration is complete. Jagger, as Fox says it best when he reminds Tiller 'don't forget that they're paying you, not as a writer, but as a whore. I guarantee, they haven't forgotten.'

Among its myriad unique qualities, `The Man From Elysian Fields' portrays Southern California not as the traditional sun-drenched paradise familiar to us from postcards and movies, but rather as a dank, drizzly, depressing locale, a perfect backdrop for the sad little tale the filmmakers are telling.

And what a strange little tale it turns out to be. Andy Garcia, in one of his best screen performances to date, stars as Byron Tiller, a generally unsuccessful novelist who finds himself so low on funds that he is literally unable to support the wife and child he loves so dearly. Driven by desperation, Byron reluctantly agrees to sell his services as an `escort' for lonely women. His very first client turns out to be the lovely young wife of a dying novelist who exploits Byron not only for his sexual prowess but for his skills as a writer, devising a scheme to get him to assist her husband in completing his final work (given his incapacitated state, the novelist and his wife have an arrangement that she is free to seek male companionship from an escort service).

With its highly original and provocative storyline, `The Man From Elysian Fields' exerts an almost hypnotic pull on its audience, seductively drawing us into the lives and the complex relationships of its numerous characters. Even though we may question the credibility of Byron's decision (after all, were there NO other options for employment that he could come up with?), the depth and richness of Garcia's performance brush all such quibbles aside. He makes Byron into such a sympathetic figure that we can't help but follow him along on his journey. Garcia is aided immeasurably by the tone of elegiac sadness that permeates the film, as well as by the superb performances from Julianna Margulies, Olivia Williams and the late, great James Coburn, whose valedictory performance this turned out to be. With his gnarled hands and grizzled face, Coburn strikes right at the heart of what it means for a man of genius to be in the final throes of his life, terrified of losing his creative powers at the end and desperate to leave behind an untarnished image when he's gone. Watching the deceased Coburn delivering a speech about impending death carries with it an eerie prescience that only enriches the melancholic tone of the work.

Williams gives a beautiful performance as his young wife genuinely in love with a man who can no longer return that love on any but the most spiritual level. Margulies is poignant as Byron's devoted but naïve spouse whose world comes crashing down around her the moment she discovers the man she married is not the man she thought he was. Indeed, of the performers, only Mick Jagger, as the head of the escort company (Elysian Fields) who starts Byron on his rode to personal disaster, falls short of his potential. Though not bad as an actor, Jagger doesn't seem to have the naturalness in front of the camera and the comfortability factor necessary for a truly first-rate performance.

`The Man From Elysian Fields' is, in many ways, a classic morality tale in the grand old Faustian tradition, as Byron, willing to sell his soul for temporal gain, discovers that the compromising of one's principles is the first step toward ruination and a life spent regretting the loss of what one holds most dear. Even though this Faust deludes himself into thinking he is sacrificing his honor and integrity to benefit those he loves rather than himself, it turns out to be a fool's bargain anyway, partly because what he is giving up is the very thing he wants most desperately to retain.

Written by Philip Jayson Lasker and directed by George Hickenlooper, `The Man From Elysian Fields' is a lyrical, beautifully modulated work that haunts the viewer with its insight and power long after the final credits have rolled by.