Dummy

I really liked the quirky humour and though Adrien Brody's acting was astonishing, the ensemble playing and the interplay of dummy and people was what made the film work for me. I am an ignorant English Quaker and I had a simple question for the director or Adrien or any other American viewers. Is Adrien's character meant to represent a specifically Jewish character, or is the film, as I suspect, more universal in its design?

I teach 11-16 year olds and have written books on mainstreaming children with special needs. I may have read the movie all wrong, but to me the humour brought alive all the hassle that children with Asperger's Syndrome have, trying to communicate their ideas and feelings to an uncomprehending world. My old school has one of the best records in UK for bringing children on the autistic spectrum out of special schools into ordinary classrooms and get great results for them. It takes real love for the staff to help the other children treat them with the kind of respect they need to show their proper talents. The anguish in Adrien's eyes was met with perfect friendship and love in his sister and girl friends and I thought that it was this that helped him reveal his true talents.

I have never filled in a comments box like this before and I only do so because Dummy is one of my all time favourite movies

Respect

DUMMY, one of Adrien Brody's two shelved indies that finally made it to theaters after he won his PIANIST Oscar, is much more likable and watchable than the other one, LOVE THE HARD WAY (about which I groused at length elsewhere in the IMDb). TV Guide Online critic Maitland McDonagh described this quirky young-adults-coming-of-age comedy as "repetitive and obvious but somehow endearing, like a truly ugly dog with sweet eyes," and I pretty much agree with her assessment. This Long Island-based story of a pair of twentysomething siblings still living at home with their annoying, critical parents (Jessica Walter and Ron Leibman are so convincing as Mom and Dad, it's scary!) while trying to find their respective paths to independence could have been shrill and tiresome, and at times it teeters dangerously close to being so. Luckily, the superb leads bring a gentle, non-cloying sweetness and poignancy to their performances that makes you keep watching and rooting for them. That's saying quite a bit when you consider that the road to full-tilt adulthood for brother Steven (Brody) involves honing his ventriloquism skills (Brody learned ventriloquism for his role, and he does a good job! I wonder if Brody drops such acquired-for-a-role skills once the movie wraps, or if he keeps them honed just for fun?) with a rather unnerving, unnamed dummy (not to keep digressing, but with such rare exceptions as Charlie McCarthy, aren't most ventriloquist's dummies rather unnerving? :-) as he woos Lorena, his employment counselor (enchantingly played by Vera Farmiga), who's got issues of her own. High-strung sister Heidi (Illeana Douglas) is trying to forge a career as a wedding planner, but she's got her work cut out for her, what with an inept stalker ex-fiance (Jared Harris) dogging her every move, her first major professional assignment turning out to be a Jewish wedding where the bride insists on klezmer music, and not owning her own car; the scenes where Heidi has to beg their mom for the car are both funny and painful. Adding to all this anxiety-laced wackiness is Steven's high school pal Fangora, née Fanny (Milla Jovovich), an aspiring punk rocker and all-around nutty chick who claims she can play klezmer music so she'll get the wedding gig, as well as giving Steven well-meant but questionable advice on how to win Lorena's heart, such as spray-painting a message on Lorena's front door. Fortunately, in writer/director Greg Pritikin's world, even restraining orders and omnipresent ventriloquist's dummies can't block the path to love and happiness for long, and everyone gets what they deserve. Brody and Douglas are particularly well-cast; with their attractively angular faces, almond-shaped green eyes, and overall air of angst, they make very convincing siblings. Jovovich is hilarious, especially in the running gag where she and her punk band practice their klezmer numbers. Between DUMMY and ZOOLANDER, it's clear that Jovovich has a flair for comedy. I hope she gets more chances to keep her funny side up!

"Dummy" is an impressive movie for many reasons, but let's start with the show stealer... Milla Jovovich. Her character is something like a female Beavis & Butthead rolled into one but with great character development and evolution which pays off with her riveting singing performance at the story's climax. Her scenes alone (which some appreciative youtubers have strung together for our enjoyment) are worth the price of admission.

Not to be overshadowed is Adrian Brody who plays a nerdy ventriloquist (whose only friend is Milla). And in case you're wondering, yes, he operated the puppet and did all the ventriloquism himself according to the credits at the end.

The story: a nerdy ventriloquist wannabe (Brody), who is living at home at age 30-something because he can't keep a real job, pairs up with his high school pal (Jovovich) to chase his dreams and simultaneously win the love of a girl he's stalking. The humor is that the two of them, Brody & Jovovich, play characters who are so socially stunted that they'd be lucky if they could ride a bus downtown, let alone achieve their dreams of glory. By the way, Milla's dream is to be a punk rocker, but she keeps getting waylaid by the fact that her guitarist can never seem to get the right "reeear-weew-breeer-woow" (that's a quote). Until they switch to a bizarre new music genre which I won't spoil, you just gotta check it out and you WON'T be disappointed.

There's a simultaneous subplot involving our hero's sister (played by the hilarious Illeana Douglas) who is a failed-singer-turned-wedding-planner also living at home at age 30-something whist being stalked by an alcoholic accountant who does community theater in his spare time.

Perhaps you've figured it out from my description; this is a film about people who have failed in various degrees to achieve their dreams, and now solidly rooted in mediocrity, they make their way through life on the line of sanity. And frequently tripping over said line.

"Dummy" is a true gem of quirky excellence. The comedic timing between Brody's subdued character and Jovovich's hyper manic character is impeccable. Not to mention other supporting characters like the mother, father and of course Brody's love interest who each play memorable roles that contribute greatly to the humor. "Dummy" is an all round solid comedy that deserves a respectable cult following. Definitely not a wooden performance. Har har.

I had a premonition I was about to see a comedy with a lot of heart even before the main titles played out at a screening of "Dummy" at the American Film Market 2000 recently.

In the opening scene, Steven, who lives with his eccentric parents and sister, sits enthralled watching the flickering tv image of ventriloquist Edgar Bergan and his dummy, Charlie McCarthy. As the camera moves in on the young man, we see in his eyes the depth of his dreams and aspirations to at last make something of his humdrum life. The next day, he gives up his 9-to-5 job and announces to his dysfunctional family that he wants to be a ventriloquist. His ever-busy mother(Jessica Walter), making yet another tuna sandwich, remarks that his career choice is" nice but not very realistic" while his sister observes that with the dummy on his lap, Steven looks like a child molester.

Casting is right on the mark. Adrien Brody brings a sympathetic and likable quality to the role of Steven as he manipulates his dummy to express his own private fears and feelings to the people around him. Vera Farmiga, the love interest, is extremely engaging as his employment counselor and Illeana Douglas, the very unmarried sister, is constantly funny. Outstanding too is Milla Javovich as Steven's best friend, a punk rocker with layers of attitude. Writer and director Greg Pritikin skillfully holds down the pathos and gives his film just the right touch of humor. An entertaining movie that is worth a look.

Steven (Adrien Brody), nearly 30 and living with his parents, sees an old Edgar Bergen movie on TV and decides to fulfill his longtime dream of becoming a ventriloquist. His beautiful unemployment counselor Lorena (Vera Farmiga) finds him work, but puts out a restraining order on him when he paints a thank-you note on her door. Later, this young mother agrees to date him anyway, but finds his bickering family, and his inexperience with women, daunting to a relationship. Steven's sister Heidi (Illeana Douglas) is a wedding planner with a drunken ex-fiancé who keeps showing up at the door. His friend Fangora (Milla Jovavich) is a pseudo-punk rocker whose sex does not prevent her from giving him terrible advice about women. The wedding of a Jewish girl, who wants Klezmer music and gets something unexpected, will become a turning point in everyone's lives.

Whoa, this is bad. Greg Pritikin directs his own script, about a tenth of which is funny. The rest strains hard to give us quirky characters, wacky situations and unexpected plot twists; but we can't buy any of it. The movie becomes unrecoverable when Lorena changes her mind about the restraining order and agrees to date Steven—after he mails her a videotaped apology featuring himself and his dummy. The message on her door disturbed her, but the tape charmed her? I could almost hear Vera Farmiga's brain going "ZZZZZT!" as she tried to play this character. Their relationship grows into the least believable nerd-with-beautiful-girl scenario I've ever seen.

The performances are varied. Adrien Brody recovers fairly well from playing such a pointless character. Farmiga is charming, especially considering the impossibility of her job. Jovavich, with her affected Jersey accent, never quite seems to inhabit her character. Illeana Douglas, a good actress, does a lousy job here. She doesn't seem to get what she's doing, and we can hardly blame her.

This is part of a sub-genre in comedy that I dislike: one that blurs the distinction between celebrating and belittling the losers it depicts. "Napoleon Dynamite," "Waiting for Guffman" and documentaries like "American Movie" and "Gates of Heaven" all belong in this dubious category. But "Dummy" is much worse. It's as phony as it is condescending.