Le prince de Greenwich Village

Set mostly in a flashback to 1973 New York City, this is at heart not a coming of age movie but a coming to terms movie. From the opening scenes in Paris, we're set up by a voice-over narrative to expect terrible events which would change a boy's life. And, true to its word, we are delivered a series of disasters, many of which are prefigured in a short-handed kind of way. But it doesn't really matter, because you know where the film is heading, and your reaction to the last 15 minutes coming out of the flashbacks will pretty much determine whether you like this film or not. (Note that the ratings here are split pretty dramatically between very positive and very negative.) The things that are right with the film are good, sometimes very good. At the top of the "good" list is Erykah Badu's outstanding performance as a prisoner in the Women's House of Detention , an urban jail with windows over the street, who offers conversation and advice to the young protagonist. Also, the evocative period setting, which puts to shame a lot of films with many times the budget. Finally, there are a few deft touches of humor in the dialog, particularly in the early scenes of school life. The other performances are a bit more uneven. Anton Yelchin, the younger version of Duchony's character, is often winning and natural, but when real crisis hits, I didn't buy his grief and desperation. Not knowing the Robin Williams role, I cringed a bit when he first appeared on screen, but his performance is for the most part fairly restrained -- at least by Robin Williams' standards. Ducovny and wife Tea Leoni were competent but not compelling. We saw this film at a preview that featured a Q&A with Ducovny afterward. He clearly has affection for the material and, if anything, set out to make an even more modest film, budget-wise, than this. This is potentially pretty dicey plot material and could have veered severely wrong, particularly toward sloppy sentimentality. While I don't think the film entirely escaped this, it's certain a better film than, say, the dreadfully manipulative, "The Notebook". If you're not expecting too much and you can appreciate the 70's period setting, you'll probably enjoy this. If you're expecting a genius writer-director first film out of Ducovny -- you will be disappointed. Bottom line: give Ducovny some space and let's wait for his second film before delivering an real judgment on his career as writer-director.

I had been wanting to see this film since I had the chance to see the preview. I must say I enjoyed it. The pacing may have been a bit off, but for what it was, it did an excellent job.

I think my biggest problem with this film is David. Not that it was a bad performance, just that he had a tough job competing with the kid who played the younger version of himself. Everyone gave great performances, even his wife whom I usually don't care for. The movies first half was great, but lacked in the last twenty minutes. Honestly, it felt like it could have gone longer, perhaps a little more in-depth.

Still, good job.

If you'd like to see an actor go beyond what's expected in his expression of self, then see this movie. Being that Duchovny not only appears in but wrote "House of d" should lend you to the depth this man carries, far beyond any Mulder personification could have introduced. The movie deals with growing up and the challenges a boy must face beyond the stereotypical expectation of getting laid. This movie challenges the audience to feel safe with being uncomfortable. Robin Williams was wonderful as was the rest of the cast being as honest and true to not only their characters, but to the struggle of being human. I commend David for taking such a risk at being real. Besides that he hasn't lost a beat when it comes to applying his dry wit at exactly the right moment. If you like Upside of Anger or Finding Neverland, this movie is for you.

I went in wanting to like it, but y'know a movie is in trouble when it tries too hard to be sentimental. During a screening here in L.A., I began fidgeting in my seat fifteen minutes into it thinking, "Okay, already, something has got to HAPPEN." I found myself looking at background extras to see how many black people with afros I'd see to remind the audience that this was the '70's. I love coming of age stories where I see characters showing me their world with fresh eyes, and sadly, I didn't care in this one.

Tea Leoni always annoys me in any movie she's in. Every scene with her dragged the story, and there's only so many forced "funny antics" I can watch with Robin Williams and the lead kid until I'm ready to walk out. I only stayed to see how bad it got. Of course, there were some scenes where I felt an emotional pull. This was toward the end where Erykah Badu the "Rapunzel with an afro"--to quote DD--tells the boy to run away from his problems. But the build up to that moment was too long, and by then you already knew his life turns out fine. Too bad. As soon as it was over, and DD stepped on stage for a Q&A, I turned to my partner and said, "This is not going to make money. It would better be marketed for television where a huge audience would watch it to get away from Reality TV".

It helps to be DD and have friends to connect you with folks to get this made. I'm sure there's some poor schmuck out there with a better story who will never get a chance to get a movie made. Too bad. DD told the audience that he lost funding several times, up until the moment it came to do principal photography. But believe me, he had it easier than most. At least he got in a room with someone to convince them to fund this poor thing.

HOUSE OF D (2005) *** Anton Yelchin, Tea Leoni, David Duchovny, Robin Williams, Erykah Badu, Frank Langella, Mark Margolis, Zelda Williams, Olga Sosnovska, Magali Amadei, Harold Cartier, Orlando Jones, Willie Garson, Stephen Spinella.

A Sort Of Homecoming

David Duchovny is one of my favorite contemporary actors and has been stigmatized by his iconic TV role as FBI agent Fox Mulder, believer of the incredibly unbelievable , on the late, great "THE X-FILES" and makes a gallant attempt to shrug off his alter ego for a smaller, more personal project in hopes to be taken as a serious actor capable of being versatile. In this, his big-screen directorial debut he makes a decent effort.

As an American expat artist living in Paris, Tom Warsaw (Duchovny) faces some skeletons in his closet and decides to tell his gorgeous wife Coralie (Amadei) and his son Odell (Cartier) on Odell's birthday, just what they are, in the middle of the night awakening some irate neighbors. Despite the late evening disturbance Tom begins to tell the story of how he grew up in New York City's Greenwich Village and how the age of 13 truly became his coming of age.

Flashback to 1973 and 13 year old Tommy (Yelchin, late of HEARTS IN ATLANTIS) has a lot on his plate: his forthcoming puberty blues is running parallel to the recent death of his father leaving him with his manic-depressive mother (Leoni, Mrs. Duchovny, in a competent turn) whose melancholy emotional roller-coaster and clinging vine addiction to sleeping pills only adds to Tommy's dilemma of not having any role models let alone family but does have a best friend, a mentally retarded janitor named Pappass (Williams wisely not going overboard in a remarkably restrained and decent performance) who works at the Catholic school he attends and assists in an after-school job as a meat delivery boy for a local butcher. When not palling with Pappass Tommy seeks refuge in the titular edifice that was an actual detention house for women on 10th St. and 6th Avenue where the prisoners were able to shout from their barred windows to the passersby and vice versea. It is here where Tommy encounters Lady Bernadette (soulful singer Badu in a surprisingly strong supporting turn) who counsels the young adolescent about the birds and bees when Tommy develops a crush on the young Melissa (Williams' real-life daughter Zelda, a chip off-the-old block, in a very natural film debut) who lives on the Upper East Side.

The storyline is quasi-biographical according to Duchovny – who I met at the opening day screening in New York and is as low-key and self-deprecatingly funny as you would guess from his talk-show appearances and interviews – and has the feel of a latter-day John Cheever novella (Duchovny also penned the screenplay) where the eccentric characters and colorful neighborhoods within neighborhoods come alive in a very vivid naturalistic way (Duchovny truly does capture the era with smartly chosen '70s pop/rock songs as well as the sublime production design by Lester Cohen, Ellen Lutter's period costumes that do not caricature the times and veteran cinematographer Michael Chapman's assuredly pristine cinematography. The acting overall is very good particularly the talented young Yelchin who has a very soft, trembly voice that makes it more intimate to actually LISTEN to what he says and his character may be a bit of a wise-ass but he's not a know-it-all troublemaking jerk like most teens are depicted. Williams balances his sweet-natured Pappass with just enough vulnerability without being too cloying and has some nice moments towards the end of the film. Duchovny has a deft touch especially with his actors – an almost Eastwoodian touch in the sense that he has not rushed his players but let them flesh out their roles, even the smaller ones by such wonderful veteran character actors such as Margolis as Pappass' alcoholic father, Langella as the passive/aggressive priest/instructor and Jones as a flashy pimp. His pacing is a bit rocky with some odd – choices in editing (one sequence after a school dance when Tommy returns home to his angry mother is a tad off) but otherwise is straightforward in his storytelling.

When Tom finishes his story to his family he's encouraged to return home (to give away anymore of the plot would ruin the viewing but let's say it's bittersweet) to rekindle his youth and find out just who he is.

Duchovny should be proud of this labor of love that shows he is a talented artist who has a lot to say and his film-making debut may not be grand but is definitely noteworthy for the next level of being The Artist Formerly Known As Mulder.