Teddy Bears' Picnic

The normally brilliant Harry Shearer stumbles with Teddy Bears' Picnic. All the components are present for a potentially hilarious and telling mockumentary-style satire on the famous Bohemian Grove, where an odd mix of New World Order power mongers, artists, pseudo intellectuals, and quasi-celebrity mix in a state of misogynistic, sophomoric, and fraternal abandon. An inspired and willing all-star cast combined with dozens of hilarious inside-joke instants, give the piece great scene-by-scene potential. But sadly, the work as a whole simply disintegrates into a surprising state of comic mistiming and sloppy direction. "Surprising" because of the intrinsic talent involved in the project. It seemed to me that this made-for-TV piece was conceived at breakfast and filmed by dinnertime, cobbled together and performed in one take. It is as if we are looking at the "dailies" rather than the final piece. With basically strong comic material, just a little TLC with the plot flow and a more careful tuning of the comic timing (in direction, acting, and editing) could have made this into a real cult classic. Should be remade to pack the real comic punch the material contains.

This film adds up to much less than the sum of its parts, and by parts I'm referring to the fantastic and star-studded cast. With Fred Willard, Michael McKean, George Wendt, Bob Einstein, the guy from Sledge Hammer (sorry I forget his name but he's great) and a ton of other people I am surprised at how bad the movie turned out. I think the big problem was with the script (lacks laughs and isn't a very meaty story, it's just a bunch of gags one after another and they aren't that funny) and mostly with the production value, the sound and video are of very poor quality. This cast deserves better and so does Harry Shearer, who also wrote and directed this. Maybe he was busy working on the Simpsons or something but he is usually much more funny than this movie would have you believe. 3 out of 10.

I was fortunate enough to see this film at one of its world premieres as part of the St. Louis International Film Festival. Unfortunately, Harry Shearer could not come and talk to us about it, as was scheduled, but from what I hear, his make-up Q&A session a few days later was riotous.

Naturally, this comes as no surprise. In the fashion of earlier works such as *This Is Spinal Tap,* *Waiting For Guffman,* and *Best In Show* (not all of which had anything to do with Shearer himself, necessarily), the comedy relies heavily upon quirky yet somehow realistic characters in situations to match. Improvisation and satirical exaggeration combined with portrayal of bizarre characters by some unexpected performers and comic pacing that only someone like Shearer could pull off make this one of the better comedies of the year. While I'm unsure of how well-distributed the film will be, all fans of the aforementioned films should make an effort to see it.

I love Harry Shearer. I've been a fan of his subtle, ascerbic humor going back to his Credibility Gap days on KRLA in Los Angeles, through the genius that was Spinal Tap, on to the Simpsons and right up til today with his weekly radio show. That's why I was so dissappointed in this effort; it simply isn't up to his standard.

With so much talent to work with and a perfectly good premise (no spoilers here), Shearer fails to pull off what could have been a good natured poke at the Bohemian Club. Instead, he briefly introduces us to a bunch of characters (never long enough to appreciate why such people would be at such a place), who would be much less annoying if they were at least funny. Alas, they are not, and the plot (such as it is) becomes just juvenille enough to bring the whole thing crashing down.

Even though this movie is an utter failure, I still have faith in Harry's gift for wry humor. Everyone lays an egg sooner or later, and this, unfortunately, what his.

I found myself consciously suppressing chuckles because several of the early jokes were racial slurs designed to make you cringe, but the movie audience was decidedly multi-ethnic. I bet it fares better on home video where the audience won't be so self-conscious. George Wendt has the juciest role as a general who goes overboard in trying to cover up Zambizi Glen's, and his own, secret. My personal favorites are Howard Hessman's portrayal of a grossly-overqualified theatrical director, and the actress playing the TV news producer. Morgan Fairchild has a very welcome, if small role.

I wanted to see this in a theater because it was shot in 480P video. My amateur's eyes couldn't see any difference between this and traditionally filmed movies-- quite surprising because this is lower resolution than even HDTV.