Swimming with Sharks

While through the ages, many noteworthy motion pictures detailing the film industry itself have been made, the majority concentrated on a highly positive tone, portraying Hollywood as the organization which "brought dreams to life", or similar self serving platitudes. However, in the early 90s, a new trend began to emerge - films which delved below the glossy exterior of Hollywood and began to expose more negative aspects of the industry. One would be hard pressed to find as fitting an example of this Hollywood introspective neo- realism as writer/director George Huang's semi-autobiographical (but hopefully only to an extent...) Swimming With Sharks - a biting, cynical look at the interior of the film industry which challenges the preconceptions of the industry and its bleak aims.

Like Robert Altman's The Player, Swimming with Sharks offers a harshly critical commentary on the corporate moneymaking machine that is Hollywood, but from the opposite end: the perspective of a low level assistant striving to rise in the ranks. However, similar to Altman's work, Huang's film dabbles with the notion of being a black comedy or darkly satirical take on the business end of the film industry, but ultimately lacks the acerbic wit needed to succeed on such a front. As such, while the occasional moment of darkly gleeful comedic insight may derived, for the most part, the film falters on attempted darkly ironic comedic moments which come across as too heavy handed to be truly funny. The film's main strength is in its strictly dramatic climax; its harrowing and powerful turn of events toying with notions of all consuming ambition and free will in a truly gripping fashion. Combined with a numbingly unexpected and chilling ending scene, the film's finale is easily its strongest point - enough so to carry the occasional botched comic moment from earlier in the film. However, Tom Heil's understated and affecting single piano score and the occasional moment of intriguing cinematography also add to the overall quality of the work.

Kevin Spacey is the main pleasure to behold here as the film's main selling point, the "boss from Hell" figure Buddy Ackerman. Alternating between wryly funny, starkly powerful and disconcertingly human, Spacey, though disappointingly denied the ability to chew the scenery quite as much as one might hope for, easily walks away with the picture with his top notch work. Frank Whaley gives an adequate performance as the constantly put upon assistant who finally seeks revenge, though his character is given next to no development and Whaley lacks the engaging charisma needed to really sell the role. Michelle Forbes also comes across as disappointingly flat as an ambitious business woman caught between Spacey and Whaley, though she shines in certain scenes. Watch also for an early appearance by Benicio Del Toro in a tiny role as Whaley's predecessor.

While it may falter as the black comedy it clearly wants to be throughout, the film excels as the harshly critical drama it becomes by the end. An undeniably maliciously enjoyable performance by Spacey keeps the film afloat, and while it may occasionally come across as lopsided or falling short of its potential, Swimming with Sharks keeps enough surprises up its proverbial sleeve to remain interesting throughout as a cynical treatise on ambition and the film industry which thrives upon it.

-7/10

I was so depressed after watching "The Men Who Stare At Goats" that I actively sought out Kevin Spacey movies to help redeem my perceptions of him. I saw "K-Pax" last week, which was adequately engaging, then found "Swimming with Sharks" on the IFC. What a find! This low-cost(less than $1M) film must not have had a very big marketing budget -- it completely escaped me at the time -- but it's one of the best performances Kevin Spacey I've ever seen. An abusive, self-indulgent, arrogant boss in the film industry, his role easily translates into that of a recognizable evil boss in any field. Spacey nicely runs the gamut of expression from god-like to humbled. His once-idealistic assistant is played by Frank Whaley, who never really saw his full potential subsequently develop in his career but has had nice turns in Pulp Fiction and a number of high-production TV series. Whaley too should be commended for his ability to grow the character from a wide-eyed beginning his dream job, to a vengeful warrior out for blood. The film centers on the dysfunctional relationship between these two and is weak only when it attempts to introduce minor roles featuring Michelle Forbes (Maryann on "True Blood") and Benecio del Toro (though these actors perform well with what they've been given).

From Sunset Boulevard (1950) through to The Player (1992), the dark side of Hollywood has given up juicy material for filmmakers looking to bite the hand that feeds. Not that there is any secret to be revealed here - pretty much everything you need to know about the soulless, spirit-crushing side of movie-making is contained in Raymond Chnadler's 1945 essay "Writer's in Hollywood", which contains more horror than any of the celluloid parodies it has since inspired.

Swimming with Sharks is the tale of innocent Guy (a freshly scrubbed Frank Whaley), whose monster boss is tinsel town king-maker Buddy Ackerman, a screaming, mood-shifting bully who dangles just enough opportunity before Guy to keep him on his leash. But payback is due, and comes in spades.

It is all very dark and delicious, and Spacey gets to rip loose as the psycho boss, the joke being that it is his very lack of sanity and compassion that allows him to thrive in the business. Love interest is supplied by producer Dawn (Michelle Forbes), who allows Guy to stay grounded as he negotiates his way to the top. Dawn and Guy show us that even in Hollywood true love can conquer all - or can it? It is received wisdom that movies about movies don't travel very well. Swimming with Sharks is about delusion and corruption, and how much the human spirit can take. It just happens to be set in Hollywood, but Buddy Ackerman could be Gordon Gecko in a different market. Worth watching to see Spacey enjoying himself in a role where he gets to say pretty much whatever he likes, and does so with relish.

Guy is the latest in a long line of personal assistants to Keystone Pictures executive Buddy. However he quickly learns that he must put up with a torrent of abuse and unreasonable demands. After a year of this he is pushed to the limit and decides to take action – however if Buddy is unreasonable what does it take to make it in show business?

A dark, cruel satire on the business called show. Director writer Huang spent 6 years in Lucasfilms and Columbia so this is very bitter and real. However it manages to be funny and very dark. The plot is told in flashbacks and is very dark. The end is depressing for those of us who believe that Hollywood isn't all egos. The plot does have weaknesses though – Buddy going for a film called Real Life is pretty unlikely but this is a minor flaw.

The main strength here is Spacey. His nasty energy is great and it's impossible to look away when he's onscreen. However when he's not there the film sags a little. Whaley is very good and the mousey personality suits his looks.

Overall it may be a little hard to watch because it is a very bitter tale from Huang, however Spacey is a master and delivers a performance that shows why he became famous.

Yes, the performances (especially Spacey's--mesmerizing) were excellent, but the film suffers simply because it does not know what it wants to be. Both halves are well-done, but placed side-by-side it almost seems as though two separate films were hastily meshed together by an overworked film editor. The comedy is far too light to stand aside overly dark torture scenes, although Spacey does a fine job in turning what is essentially a caricature of a tough boss into a multi-level (and very stirring) performance. I do, however, have to agree with some of the posts on this board--Spacey's motivation in the last scenes is indeed very difficult to comprehend.