Illuminata

Superficially about love (isn't everything?) this effort really concerns itself with a recurring question in theater: how important are the actors?

In recent years, there have been a dozen or so movies by actors that deal with this and insist they are paramount. The most entertaining (in a camp way) is "Wag the Dog," perhaps the most intelligent "Vanya on 42nd St" and the most interesting Branagh's "Midwinter's Night." The most financially successful is "Shakespeare in Love."

This is not a sex farce, nor about love. That's all just grist for motion. Here we have a message from the "puppets," underscored by pleasant framing of the film by puppets. What the writers of this work have done is suggest that the life of any play comes from the lives of the actors. This is in contrast to plays written by genius playwrights like Ibsen, that are merely "performed." For this troupe to have to participate in such an enterprise is seen as hell.

Thus we have their (thinly distilled) lives appear on the stage. Along the way we have an audience that is purely incidental since they don't know what's good anyway. We have the theater owner who likewise is ignorant, but married to a failed thespian who suspects. We have the all-important critic whose real interesting characteristic is not his flamboyant gayness, but his views on art: he values writing, values the fulfillment of the author's intent. So he is particularly vulnerable to being abused. The character is a parody of Wilde who came down strongly on this controversy.

We have the vain celebrity (Sarandon) who does not have the commitment to the art of acting. She briefly tempts our author who really in his heart loves and respects the actors, here represented by the head of the troupe. Sarandon has a speech where she claims she loves the art, but it is clear she loves herself only. Is she a parody on Ellen Terry? Walkin and Sarandon clearly as actors believe in the supremacy of the actor, so in playing the "bad guys" they overly ham it up so that we know where they really stand. In so doing, they undercut their purported honor somewhat. Rather unsettling, especially so since they are amusing at it.

And we also have the troupe itself. They do double duty here: first showing honest commitment. Second providing the material that appears in the play, each representing a distinct stereotype. Wheels turn, people love and not, die and not. This strange crew (and any like it) we are told is worth it despite the strangeness. Along the way many writers are quoted from the Greeks through Chekhov. This is not new stuff, as noted above, but once you know what it is about it is well enough done. However, there is only so much reward one can get, the work can only go but so deep when it is turned over to actors. See where I stand?

If you come looking for a sex farce where the theater is incidental, your mistake will lead you to disappointment as it clearly did many who commented before me.

I don't know how this ended up with such a middling rating. It stands out as one of the wittiest, strangest and well-constructed films I've seen in years. Well photographed, with many characters wonderfully and unexpectedly acted. Appropriate for almost any mood, occasion or atmosphere.

"Write what you know about" has long been the dictum for writers ranging all the way from accomplished published authors to struggling composition class students; is there a playwright then who can resist the temptation to compose a play about composing a play? It has, of course, been done countless times in the past ("Shakespeare in Love" being but the most recent popular example), but, alas, rarely as dully as in "Illuminata," Brandon Cole's tale of a turn-of-the-century repertory company struggling, amid personal conflicts, theatrical roadblocks and even death, to produce an original work (itself entitled "Illuminata"). Cole, along with co-writer and director, John Turturro, centers his story on the playwright, Tuccio, (also played by Turturro), as he copes with temperamental actors, theatre owners and critics, all of whom conspire, intentionally or unintentionally, to sabotage his work.

Like so many films that attempt to deal seriously with the creative process, "Illuminata" seems naively to suggest that inspiration can only be achieved after the creator has undergone a series of concomitant life experiences that somehow illuminate the truths hitherto obscured in darkness. Thus, since, in this case, the play-within-the-play deals with the issue of marital infidelity, it is only after the entire cast and crew of the production have participated in a night long sexual roundelay (which consists essentially of switching partners in a style too cute for words) that the play (which failed in its first performance the night before) can come to complete artistic fruition. This cloying and cliched view of theatre as merely a reflection of life (or vice versa) might have been acceptable had the script provided any truly interesting characters, profound insights or satiric wit to carry us through. As it is, though, the characters are both unappealing and woefully underdeveloped, the insights consist of mere self-indulgent paeans to the glory of artistic creation and the humor rests mainly in a series of surprisingly crude illustrations of sexual activity. Furthermore, Turturro is such a dull, uninspiring lead, with his constant sadsack expression and look of pained bewilderment, that he conveys no sense of the dynamism essential to a person capable of producing a work of genius. This leaves the rest of the cast, some of whom are very good, pretty much adrift as they thrash about looking for something solid in the way of character development to hold onto.

Actually, the highlight of this film comes during the opening credit sequence, a beautifully done marionette performance that is almost heartbreaking in its otherworldly beauty and delicacy. It is a measure of the failure of the rest of the film that the audience wishes IT were performed by marionettes as well.

This is one of the few movies I have had to escape by walking out. Others in the movie house did the same before me. This movie was boring, lacked coherence, relied on cheap jokes and gratuitous topless scenes and tasteless sexual innuendo. The whole thing just fell apart. I don't know how Susan Sarandon was talked into appearing in this.

I'm also tired of endless self-centered movies being made about actors doing acting or making plays or movies. The direction might as well have been phoned in. Most of this can be blamed on actor John Turturro who adapted this movie from a play and who co-authored the screenplay and co-produced and directed this disappointment. The only redeeming qualities, as I see it, were the set design and photography.

The reason I joined the IMDB database was to warn others about this waste of time and money. I have enjoyed Turturro's acting in past movies and that is where, in my opinion, his energies are best utilized.

Just saw this on TV. As a lifelong professional actor, and therefore of "the other world" (the other other world is everybody else, the "private people"), I want to say how it seemed to me to be made for actors only. Full of wondrous insights, dealing with the shallowness of actors, and their ever present self-concern that maybe where real life is concerned, they just don't "get it", but want to. (Hence our "method" approach to the craft.)

For me it has everything that I've never seen before in films that purport to be about the theatre, but in actuality pander to the ignorance of Private People about things of the theatre, and lie. These guys really don't care about that, but would rather stick to the truth. Yes, it's a huge "in" joke. Like the no-no of breaking up on stage, and destroying the fourth wall, not supposed to do that, it upsets the audience.

This exploration of that unreal world will always stand for me to be definitive. If you're one of the outsiders, don't bother, you won't understand. If this sounds elitist, it's not meant to be. Put it down to an actor's insecurity. But enjoy it for its beauty if you wish, don't look for more.