The Secret Lives of Dentists

The American Dream of the dentist David Hurst (Campbell Scott) is complete: he is married with his sweetheart from the dental school, the also dentist Dana (Hope Davis) that works with him and is an aspirant opera singer; he has three lovely daughters; he lives in a very comfortable house; and he has his own business. David is presently treating the troubled blunt musician Slater (Denis Leary), having a complicated relationship with his client. When David glances his wife in the backstage of the theater before a presentation of Nabucco, he sees a man caressing her and he imagines she is having an affair. The repressed David becomes mentally ill and uses Slater as his alter-ego to express his anger while fantasizing the relationship of his wife and fighting to keep his marriage.

"The Secret Life of the Dentists" is an original and refreshing movie about the common crisis of long-term marriage. The story is centered in the thoughts of the character of Campbell Scott, who is suspicious of his wife and imagines his world and the American Dream falling apart if his beloved unfaithful wife leaves him. The character of his wife is only passive, keeping the mystery of her behavior until the excellent and never corny conclusion. This film is recommended for mature audiences only, otherwise the viewer may not understand the feelings and behavior of the two lead characters. My vote is seven.

Title (Brazil): "A Vida Secreta dos Dentistas" ("The Secret Life of the Dentists")

This is the closest I have come to getting sick in a theatre since Monty Python's Meaning of Life. The graphic vomiting in this movie is so repulsive and ultimately meaningless that it just overtakes the entire movie. Plus Dennis Leary gets real annoying real fast. Skip this one, but if you see it, skip the popcorn.

First of all, the front page review for this movie makes me wonder if the person actually watched the film. Or perhaps s/he got up to get some popcorn during an especially critical scene, but we definitely do find out whether or not David (Campbell Scott) is correct is in belief that Dana (Hope Davis) is having an affair.

Secondly, this was a good, honest character driven movie. I was shocked at the low overall score, and I wonder whether most moviegoers these days lack the patience or attention span required to sit through a film whose sole purpose is to take the audience on a tour through the characters' relationships and private hopes, fears, and desires. There is virtually no action (in the typical Hollywood sense), no flash, and no monumental act of god or nature that is meant to shock. Instead, this is a film that all of us should be able to relate to on the most simple, human levels. It examines those day to day pieces of life that we take for granted, but which quietly take their toll. Perhaps the most profound line in the film is when Davis' character tells her husband that she expected their marriage to "get wider...but instead it just got smaller." The film reminded me a lot of another character-driven film about misunderstandings, dysfunctional relationships, and the inability to communicate: "You Can Count on Me." Both films are deeply intelligent, and both require their audiences to be as open and honest in what they allow themselves to get from the film as the movie is in giving it. In a nutshell, you will get out of this film what you are willing to put in. That being said, it's not for everyone. If you like fast action, melodrama, and lots of flash and glitter, this film is not for you. In you like a contemplative, honest piece of art, check it out.

Based upon the quality of The Moderns and Mrs. Parker and the Vicious Circle, I went to see this at the D.C. Film Festival and walked out of the theater and straight into a saloon to mourn the loss of my ticket money with some gin. Insufferable.

To be honest, I've never been much of a fan of Campbell Scott or Dennis Leary. For that matter, I've usually found director Alan Rudolph's films snail paced and DULL. You can make a slow movie that works (i.e. Michael Mann's The Insider), but it's difficult. As usual, Campbell seems to be in a semi-coma. How the hell is he the product of two such dynamic actors as the last George C. Scott and Colleen Dewhurst? Both of them were such vibrant magnetic people. Was he cowed by them?

So, we end up with the nasty, ugly Dennis Leary stealing the show. Hope Davis, who is so luminous as the schleppy Mrs Harvey Pekar is also reduced to a dullard, who might be having an affair with the conductor of the opera she appears in at the beginning of the movie. Did I have to mention that? Did this movie have to be made? All I know, if someone I was living with said that they could kill me out loud, let alone in front of our kids, I'd be out of there, helter skelter, no questions asked!