Roger Dodger

Meet Roger Swanson, the world's most arrogant and chauvinistic SOB. To him, women are inferior and are to be regarded as conquests. Yet as appalling and thoroughly unlikable as Roger is, he's played by Campbell Scott, who's so good that he makes Roger a person who is quite literally addicting to watch.

After getting dumped by his boss, Joyce (Isabella Rossellini), the ultimate player Roger is more than a little peeved. But when his nephew shows up at his office asking for advice on women, Roger takes it upon himself to show the 16 year old how to be the ultimate womanizer.

Needless to say, this film is about Roger. Unless the performance was pitch-perfect, the film would fall flat on its face. Fortunately, indie-film king Campbell Scott is playing him. Campbell Scott is dynamite. With a razor-sharp wit and an arsenal of one-liners, pick-up lines and other assorted ways of getting sex, Roger is compulsively watchable. There's really not much that he says that hasn't been said before, but Scott is so stunning that it doesn't matter. His dialogue is electric, and Scott attacks it with relish. Yet as darkly funny as some of the things he says are, Scott understands all facets of Roger. His scenes with Joyce are some of the most telling about Roger, and arguably some of his most well-acted. He still has the same penchant for one-liners and shocking views on women, but Scott delivers it with anger and frustration.

His co-stars are great as well. Jesse Eisenberg is terrific as his nervous nephew, Nick. He's young and naiive, and Roger is more than happy to enlighten him. Their two targets, Andrea (Elizabeth Berkley) and Sophie (Jennifer Beals) are terrific. Both are gorgeous, and are totally into Nick (and to his surprise, not the least bit into Roger). Andrea has a wit to match Roger's, while Sophie is nice and falls for Nick. Isabella Rossellini is also solid as Joyce, Roger's boss, who is more than a little annoyed with him when he won't let their affair end.

Dylan Kidd has a terrific script. Unfortunately, this was shot on a hand-held camera, which is not the way to shoot it. However, this was probably due to budget constraints. The only scene that doesn't work is the final one. It's out of character for Roger, and thus rings false.

Yet this film is all Campbell Scott. The cast and script may help, but this is his movie. And Campbell Scott is unforgettable in a performance that in a perfect world, would have garnered him an Oscar. We can only hope that in the future the prestigious award will finally come his way.

ROGER DODGER (2002) ***1/2 Campbell Scott, Jesse Eisenberg, Isabella Rosselini, Elizabeth Berkley, Jennifer Beals. Scott gives a remarkable performance as a silver-tongued misanthropic New York advertising copywriter facing a personal crises that only takes fuel to the fire when his teenage nephew Eisenberg (a nice thurst and parry polar opposite turn) comes to visit him to gain some insight to his ‘lady killing' social skills which leads to a night of unveiling some inner demons via his fast-talking eviscerations and character assassinations in a furiously funny way. Scott's bravura (and brave) take on a smart, verbose and insecure jerk straddles the fine line of being a complete monster and an honest to goodness dyed-in-the-wool cynic on the subject of the fairer sex (who are represented smartly by Rosselini as his on-the-skids lover/employer and Berkley and Beals as two young women the relatives hit on in an eye-opening lesson in the battle of the sexes and what it really means to be a man. A real sleeper gem with wickedly snaring arch humor to spare. Written and directed by novice filmmaker Dylan Kidd is one of the few politically incorrect triumphs in recent memory.

Roger Swanson is a coldhearted, fast-talking yuppie businessman who has cynically reduced the man-woman equation to its Darwinian essentials. To Roger, women are objects to be conquered not people to be respected, and he has learned to employ his good looks, charm and over-analytical mind in the service of getting laid. When Nick, his naïve, inexperienced 16-year old nephew comes to town, Roger decides to train the boy in the fine art of manipulation and seduction, taking him out for a night on the town that the youngster will not soon forget.

As conceived by first time writer/director Dylan Kidd, `Roger Dodger' is less a full-fledged narrative and more a series of extended conversations. And I, for one, couldn't be happier, for the dialogue Kidd has come up with is sharp, observant, insightful and witty, as Roger opens up and reveals his unique perspective on the dating scene. He uses his mouth like a machine gun, shooting rounds of rapid-fire, staccato comments, indifferent to who's left standing when he's done. He really has no qualms about `corrupting' his underage nephew, never seeing or caring about the corrosive effect he may be having on him. In the process, we learn quite a bit about Roger as a person, most especially the aloofness he feels from others and his inability to make any kind of emotional connection that really works. Long estranged from his father and sister, Roger is also facing a breakup with the older woman he's recently come to fancy (his boss in fact). Roger is a humorous figure but also an immensely sad one, for he really does seem - for all his bravado and bluster to the contrary - to be a lonely, unhappy guy. We are simultaneously drawn to him by his confidence and charisma and repelled by his smarminess and coldness, just like the characters in the film. As Roger, Campbell Scott does a superb job bringing out both of those seemingly contradictory qualities. A non-stop talker, Roger knows how to draw all the attention in the room to himself; he is (at the risk of mixing my metaphors here) like a chattering vortex up there on the screen and we can't help but be sucked in by his personality and presence. No wonder Scott won the 2002 award for Best Actor from the National Board of Review. In fact, I haven't seen a performance this smooth, alive and energetic in a very long time. Equally impressive is young Jesse Eisenberg whose wide-eyed innocence and youthful decency provide an effective counterpoint to the brash but empty Roger. Isabella Rossellini, Elizabeth Berkley and Jennifer Beals also turn in outstanding performances as the various ladies who play a part in the two men's adventure.

In his debut film, Kidd shows himself to be in full control of his medium. He employs a jittery, handheld camera in almost every scene, a technique that may bother some people but which heightens the sense of realism so essential to the nature of the story. In this way, the audience is made to feel almost like an eavesdropper on the various conversations. Kidd should also be commended - in this day of maximum special effects and minimal verbiage - for allowing his characters to speak at great length on any number of topics. Many another filmmaker would have felt intimidated by such a heavy reliance on dialogue. Kidd, obviously, feels intoxicated by the beauty of language and his intoxication becomes ours.

Roger is a fascinating case study mainly because we feel so ambivalent in our attitude towards him. Just as we are about to consign him to the category of heartless, cold-blooded b***ard, he wins us over by showing us that barest glimmer of humanity that peeks out every so often from beneath his well-oiled exterior.

`Roger Dodger' is not only an intriguing, amusing and poignant tale of realtionships and sex in the modern world, but a confident first film that augurs well for its gifted young maker.

Roger Swanson (Campbell Scott) scores every night, he likes to say. However, he has a breakup with his boss and lover (well, duh…) Joyce (Isabella Rossellini), and his 16-year-old nephew Nick (Jesse Eisenberg) shows up, saying that he was looking at colleges in the New York area and decided to give his favorite Uncle Roger a visit. Roger talks a mile a minute, very suave like, and decides to take Nick out on the town in search of sex, which, he claims, is `everywhere'.

A fine, inventive movie, with good acting by the leads. Not many movies would dare to go out on a limb, and this isn't a Hollywood movie (it's distributed by Artisan), but those who have seen it have enjoyed it. Its script, by director Dylan Kidd, is often funny, and could go as Everything You Always Wanted to Know About Sex but Were Afraid to Ask Part 2, since Nick is basically naïve and oblivious. However, the script leads into the first problem I would like to talk about.

Although funny at many times, during the many lulls, the drama, which is supposed to ensue, doesn't ensue. I didn't feel touched or sympathetic or anything during the `dramatic' sequences, especially during the end, but at least it goes back to comedy, with the fate of Roger and Nick. The script has many laugh-out-loud moments, however. I love the first scene, where Roger is talking to Joyce, Donovan (Ben Shenkman), and Donna (Mina Badie) at the restaurant, and he's going on all about Darwin and evolution, and the eventual fate of the genders. This is a good introduction to Roger: lots of talk, but he can't back it up, and you can tell he has now idea what in the world he is actually saying.

Scott won a few awards for his performance in Roger Dodger, which I can understand. He totally got into his role, and at times it didn't seem like he was acting, everything was coming naturally to him. An example of that is when he's talking to Nick about different ways to look at women (which is about a 10 minute take), he just keeps on talking and talking like it wasn't scripted. I could almost hear the director laughing in the background. I hope that this bounces his career more, because he is a great actor. Eisenberg was also very good as the nervous teen, he also seemed to know what he was doing.

Another point I really liked was the music. It was crystalline, and it sounded solid, which is probably symbolism for Roger: he thinks he's solid with the women, but he really has as much to learn as the student. He thinks that he knows everything that's there, but he doesn't really, and he figures that out throughout the movie. To be forewarned is to be forearmed, so here I go: if you're a feminist or against sexism, this isn't really your movie. Roger's view of women won't appeal to those, but he does talk about that the female sex will eventually rule the earth and men will be their slave (aren't they already?). If you don't mind, though, it's a very good movie that may not deserve all of the acclaim it's getting but is still better than most of the Hollywood drek that's out now.

My rating: 7/10

Rated R for sexuality and language.

Rather unpleasant movie with a terrific performance by Scott as a quick-witted chauvinist. I liked the opening scene best, which was sharp and funny and drew Scott's character very nicely, but I felt the movie never had a clear idea of its own intentions and never knew where it was going, which is why it never really gets anywhere.

Now, on the one hand I can understand not wanting to make the movie pat, not wanting to spell things out for the viewer, but I just felt not enough was done with Scott's obvious rage and self-destructive behavior. The movie gives you a fairly awful person but veers uncomfortably between showing you him at his worst and trying to work up some empathy with him, a gambit that fails because the character is always kept at an emotional distance.

I gave this 7/10 but I'm not sure if it deserved something that high or not. But it is intriguing.

By the way, the cinematography, which has elicited a lot of hostility, didn't bother me at all. I saw it on TV, perhaps it's more bothersome in the theater.