Tough Guys Don't Dance

Writers, be they Philip Roth or Jacqueline Susann, invariably complain about how Hollywood makes a mess of their work when bringing it to the screen. Norman Mailer was different. Rather than let Hollywood ruin the movie version of his novel "Tough Guys Don't Dance," he chose to ruin it himself. That his movie has the ingredients to be a camp classic yet still falls short is all you need to know about Mailer's skills as a director.

And yet Mailer comes so close to making this disaster enjoyable. Just the dialog alone — an awkward mix 1940s gangster patois, writerly pretensions and gutter vulgarity, usually combined in a single sentence — should make this a must-see. The dialog doesn't sound like it would ever be uttered by actual people yet it's highly quotable (though not here). The only movies I've seen that refer to male genitalia as much as this one were gay porn videos, which is kind of surprising given the gay panic coursing through "Tough Guys" (second only to the misogyny). Or maybe it's not so surprising.

The cast of "Tough Guys Don't Dance" does its part to turn Mailer's movie into campy fun. Ryan O'Neal pounds the last nail into the coffin of his career as Tim Madden, the alcoholic would-be writer who can't quite remember if he's responsible for all the blood in his Jeep or the head buried with his marijuana stash. Though I kept thinking Nicolas Cage would've been so much more fun, O'Neal is actually effective in the role. Too bad his performance can't overcome that awful "oh god oh man" moment on the beach. A miscast Isabella Rossellini delivers her lines as if embarrassed to say them, but in her defense she does have to say things like: "He must have the biggest c—k in all Christendom." If Elizabeth Berkley of "Showgirls" fame were to play Maggie in a dinner theater production of "Cat on a Hot Tin Roof" it might look something like Debra Sundland's portrayal of Madden's money-hungry ex-wife Patty Lareine. And yet Sundland is never quite that awesome. John Bedford Lloyd plays the part of Patty Lareine's bisexual ex-husband Wardley like a Southern belle suffering from a case of the vapors, so maybe it's perfectly natural that he would use a word like "imbroglio". But it's Wings Hauser who steals the show as the lunatic Capt. Alvin Luther Regency, the police chief—and seemingly the town's sole law enforcement officer—breathing down Tim's neck. Hauser doesn't chew the scenery; he unhinges his jaw and swallows it whole. Only Lawrence Tierney, as Madden's father Dougy, emerges from this movie with his dignity intact.

With a director blinded by ego, over-written dialog and over-the-top acting, "Tough Guys" should be in the same league as "The Oscar," "The Concorde-Airport '79" and the remake of "The Wicker Man." But with the exception of Hauser's performance, it never quite takes off to such giddy lows. It's a movie that's more fun to talk about than actually watch. I remember reading an article about the making of this movie in the late '80s, the lurid plot description – sex! drugs! violence! – enough to make me seek it out when released on video. I was profoundly disappointed. I expected trash, but I didn't expect it to be boring. I re-watched it recently and while I found it more entertaining, I was still disappointed. But Mailer didn't make this movie to please me, or anyone else. As made clear by trailer to his movie, in which the smirking author/auteur reads the scathing comment cards from test screenings, Mailer doesn't care what you think. The only opinion that matters is his, and in his own opinion "Tough Guys Don't Dance" is a good movie. You're just too dumb to appreciate genius.

What were they thinking? Didn't anybody read the script or did they read it and then lack the guts to tell Mailer it didn't work? Whatever the reason this is one pathetic film. Bad script and hilariously bad acting. It is the bad acting that keeps you watching. You want to find out how bad can it get. In most films, even bad ones, you can find something to recommend it. I can't think of anything to recommend about this one.

Norman Mailer used to mean something, literary-wise. He was a Big Noise back in the fifties and sixties trying to be the heir apparent to his hero Hemingway, but since Mailer was really just a small-statured city boy with no interest in the outdoors he resorted to games of thumb-wrestling and head butting men (and assaulting women) instead of hunting and traveling. Like this movie, Mailer is a juvenile, woman-hating, gay-hating, faux-tough guy obviously obsessed with his fragile masculinity. Decades of hype and bad writing and activities (including the notorious Abbott disaster) have reduced his noisy reputation to virtual silence. He has become as pathetic as this movie, based on another one of his terrible novels. Granted this film is more coherent than his previous directorial attempts way-back-when (i.e. 'Wild 90,' 'Maidstone') there is still no reason to give it any more credibility considering its supreme awfulness. Of course, there IS the 'Showgirls'-like aroma of a risible good time to be had for those inclined to cheer on the execrable disasters of filmmakers who thought they were making something worthwhile and were so very wrong. For other viewers this is a stupefying experience mirrored by the consistently haggard look of Ryan O'Neal throughout. Like Spike Lee, Mailer MUST include his obsessions on screen. Ala Spike, consider this a 'Norman Mailer Joint.' That means you will hear men grousing to other men about "being men" and "not being fags" and how spiteful and cruel all women are, and it will be spoken in purplish film-noir-meets-gym-locker-room dialogue (my favorite: "Don't tickle my stick.") There will be countless scenes of women degrading themselves for no reason or men complaining/crying because those ruthless harpies have emasculated them. Since it's directed by a rank amateur, naturally the actors look either lost or unhinged. In short, this film, like its author, is an embarrassment.

When Lawrence Tierney utters the line that gives Tough Guys Don't Dance its title, he evokes the stoic, hard-boiled codes of post-war noir, felt in films he made like Born to Kill, The Bodyguard and The Devil Thumbs A Ride. And when Isabella Rossellini shows up, she suggests David Lynch's kooky and subversive Reagan-era suspense movies like Blue Velvet. These homages mark two of the many streams that flow into Norman Mailer's rhapsody on themes of sexual intrigue, multi-tiered duplicity and garish murders. (Mailer directed his movie from his 1984 novel.) It's a baroque contraption that comes close to self-parody - and may even cross the threshold - but neither is it just a fling at film making by a celebrity author intoxicated by his own publicity.

The forlorn setting is Cape Cod under the sign of Sagittarius: the dunes and the bars empty, and the Atlantic is choppy and gunmetal grey. Ex-con Ryan O'Neal (his boyish superstardom well behind him) has been drinking heavily since his wealthy if white-trash wife (Debra Sandlund) left him; one morning he wakes to find a tattoo on his arm and his jeep's upholstery soaked in blood. Circumstances lead him to a burrow where he stashes his marijuana harvest; in it he finds the severed heads of his wife and a woman he had picked up (along with her boyfriend) a few nights before.

The clues he starts piecing together lead him back down paths that wend through his own none-too-savory past. There's the out-of-town `couple' with whom he had spent a hard-drinking night (Frances Fisher and R. Patrick Sullivan); a woman he had once loved (Rossellini) now married to Provincetown's sadistic Chief of Police (Wings Hauser); another woman he had met when she was married to a wife-swapping Christian preacher (Penn Jillette) and who later wed a rich, spoiled Southern boy (John Bedford Lloyd) then, ultimately, O'Neal, whom she recently left. Helping him find his way is his gruff, cancer-ridden father (Tierney).

What plot line there is hangs on cocaine (maybe) and several millions, but that's but a pretext for Mailer to worry the preoccupations, even obsessions, which crop up again and again in his work, most notably the yin/yang of eroticism and violence. The women come across as predatory sirens but end up being almost beside the point - they're prizes for sexual competition between males, conflict that shades into edgy attraction, right up to taunting flirtation. (The movie is loaded with homosexual references, generally pejorative - the bisexual boyfriend is even given the name `Pangborn' - and the continuum of couplings, both on screen and in the back story, results in a very kinky daisy chain in which everybody save Tierney might just as well have slept with everybody else. Mailer comes close to suggesting that two men who have slept with the same woman share an implicit homosexual relationship themselves.)

Coming to Tough Guys Don't Dance expecting anything like a conventional suspense film (even something `post-' or `neo-') is to court disappointment. One comes for Mailer, who's like the little girl with the curl right in the middle of her forehead: When he's good, he's very, very good, but when he's bad, he's horrid. How the proportions weight out in this movie can be argued, but adventurous and provocative nuggets nestle among some very bad choices (the acting runs the gamut from rather good to execrable, often within the same performance). Caveat spectator: wildly uneven and sometimes grotesquely macho, Tough Guys Don't Dance is far from negligible.

This is one of my favorite movies. A strange mixture of seemingly unintentional humor , macabre plot twists, and the charm of off-season Provincetown. I wouldn't call it a drama. HILARIOUS. Patty L. is a real overdone nostril flaring trailer park siren. Ryan O'Neil seems to play the straight man to everyone else. I don't know how he maintained such a bland facade - I guess that's his style. He mostly stood around looking haggard, and so managed to provide something like a foil for all the circus freaks. At one point in the beginning of the film during a scene with his hard drinking crustacean of a father (L. T. is great), I thought I saw something like a suppressed smile cross the faces of both actors - a great moment that I'm sure was totally unintentional. Who wouldn't crack under the weight of all the corny dialoge? Contains the funniest dad and son out "fishing" in the rowboat at night scene ever filmed. I can still hear the foghorns. Despite all the corniness, its all somehow...so...mesmerizing....