Cool Blue

The box art for the VHS release of "Cool Blue" seemed to suggest that the movie was a comedy of sorts. It really isn't - it's more of a light- hearted drama. It's quite an odd little movie, and it's offbeat nature may be why Woody Harrelson decided to choose the movie as his leading man debut, since it is so different from the tone of his hit show "Cheers". It's a kind of rambling movie and kind of unpredictable. While the unpredictable tone of the movie is kind of refreshing, at the same times there are several moments in the movie where viewers will ask, "Just where is this movie going?" In the end, the movie isn't one with a big impact, but will satisfy viewers on a slow day who want to see something a little different.

One last thing: Why is the movie called "Cool Blue"? The choice for title isn't really explained.

Ten stars just because you've got to see this weird film. I happened upon it on HBO the other night, just in time to catch Sean Penn (not credited) playing this blond pony tailed Irishman in a bar, spouting lilty prose, and trying to buck up a hapless Woody. Hank Azaria and Woody have more weeping, shouting scenes than any chick flick I've seen, and combined with a Cormanesque art direction, this is one classic sad sack story. I was desperate to find the remote, but was glued to my seat as Woody, the painter who only paints this one woman over an over.. finally confronts her - after she slashes her portraits at Woody's big coming out show. (in a gallery that looked like an abandoned warehouse, of the backside of the same set for Woody's 'loft') Hank Azaria's jealous melt down over Woody's being the 'guy who gets all the girls' over a pool table, complete with cue ball tossing (Off Camera - "hey watch where you throw that!") and cuestick smashing.. well, the movie Gods are to be thanked for not having this flick stop all of their careers. But really tune in for Sean Penn's off beat barfly - the guy does a spot on irish accent up until he reveals he's just a handy man from the valley with bon mots of relationship wisdom.. or is he? Was it God all along masquerading as an Irish wit? Not to be missed.

On his 27th birthday, Dustin is living in Los Angeles in a dump, driving a 20-year-old Pontiac Bonneville that needs to be taken to one, and shoplifting so he can eat. He doesn't want a job because he considers himself an artist, though occasionally, he admits, he paints kitchens instead of pictures. His best friend Buzz also lives in a dump, and he writes for Shrew magazine, though he tells his mother and girls he dates that he uses a pseudonym to write for Vanity Fair.

At Bruce's gallery, Dustin sees Christiane and decides he wants to know more about her. I won't say whether he finds her, but I will say Christiane has money but an abusive and controlling husband (or boyfriend; we're not really told). And the search process leads Dustin to a number of quirky characters.

Woody Harrelson does just fine in his role, though it's nothing really special. It's always nice to see Hank Azaria rather than just hear him, and he was good too. His best scene came when he answered the phone as operator Coco, sounding more like Moe the Bartender. Dustin tried the same thing but didn't really succeed. The movie was better when it was funny. The performances may have been good quality in the dramatic scenes but I just didn't enjoy them much.

Ely Pouget was charming and likable as Christiane. Phil Brock was goofy and somewhat annoying as the apparently gay man at the gallery where Dustin saw Christiane--an expert on movies from the time of World War II. Also apparently gay was the effeminate Paul, who got Dustin's work into a Los Angeles museum and had the ability to further Dustin's career if he could just find the inspiration--perhaps Christiane would provide that. Sean Penn made an impact in a brief scene as Paul the Plumber, who seemed Scottish or Irish. And there were so many other quirky characters whose names I didn't know. The girl in the room with what looked like Edvard Munch's 'The Scream'. Christiane's boss at a hair salon.

This movie included several different musical styles. I particularly liked what was playing during the scene in Bruce's gallery. It included an electric guitar and what I believe to have been a stand-up bass, plus drums and what turned out to be a saxophone, though it was hard to tell at first. I believe this would qualify as real jazz. The style was repeated several times, though I can't say for sure it was the same song. In the next scene (after Bruce's gallery) was a style I didn't enjoy, but others might. I believe it would be classified as Americana. It sounded sort of like 70s Southern rock with bongos. And this style came up again several times. Needless to say, the music in this movie would be best described as eclectic.

This was good, but not great.

My review was written in February 1990 after watching the movie on RCA/Columbia video cassette.

Surprise guest appearance by Sean Penn livens up this otherwise trite "finding myself" direct-to-video release.

Woody Harrelson is the nondescript hero, a budding artist in L. A. who's introduced to us shoplifting for food with his cynical pal Hank Azaria. Cornball plot line is set in motion when he falls in love at first sight with Ely Pouget, who picks him up (for a one-night stand) at an art gallery.

Searching the rest of the film for her, he's the centerpiece for sophomoric satire of art and show biz types by filmmakers Mark Mullin and Richard Shepard. It's the sort of self-indulgent, student film rumination that has obsessed tyro helmers since the '60s.

"Cool Blue", a/k/a "Creative Detour", perks up briefly just when Harrelson is at the end of his tether, having given up his quest to find Pouget. A guy in a bar throws peanuts at him and turns out to be Sean Pen, sporting a blond ponytail. Using a variety of accents, the flamboyant thesp lays a heavy philosophical trip on Harrelson and disappears, like a guardian angel.

This guest shot resembles the equally uncredited cameos by Emilio Estevez, Charlie Sheen and Judd Nelson in exec producer Cassian Elwes' previous pic "Never on Tuesday". Unfortunately, Penn takes a hike and the film returns to its plodding pace: should Harrelson leave L. A. for the New York art world or stay with his buddy and Pouget (when he finally digs her up in the final reel)?

Acting is acceptable, though the supporting cast hams it up. Both Pouget and Harrelson are rather ordinary looking, with another one-night stand, buxom Julie Aronson, stealing the spotlight from the leading lady. Tech credits are on the cheap side.

Small time thief, part time artist Dustin (Woody Harrelson) meets a chick (Ely Pouget), loses the chick, and goes looking for her. stuff happens along the way, but the music and plot are kind of silly, so right off, we're not too invested. Looks like a collaboration between Mark Mullin and Richard Shepard; they share writing and directing credits. another note - trivia says this film was held in storage for two years before being released. they should have held it another two years! such low ratings on imdb. part of that is the in-appropriate music - it never seems to match the current scene. the script is pretty lame too. i guess the low point is when a little girl starts asking Dustin what an abortion is. just creepy. and the world's weirdest interaction with a stranger in a bar (Sean Penn, doing a TERRIBLE irish accent). this wasn't anyone's very first role, but i'm guessing none of the cast bragged about making this one. pass on watching it. this one showing on Epix channel. snoozer. so many issues.