The Tao of Steve

"The Tao of Steve" tells of a fat slob of a guy who seems to have unusually good fortune in bedding chicks thanks to his Taoist philosophy. Although the flick smells like a young indie, it is fresh, creative, and unique enough to take on a seemingly endless parade of second rate romantic comedies sans the 24 carat glamour and other trappings of Hollywood. "The Tao..." is a great watch for anyone interested in what independent films are about and an enjoyable watch for most. Kudos to the Goodmans.

THE TAO OF STEVE (2000) ***1/2 Donal Logue, Greer Goodman, Kimo Wills, Ayelet Kanelson, David Aaron Baker, Nina Jaroslaw, John Hines, Selby Craig, Craig D. Lafayette. (Dir: Jennipher Goodman)

Donal Logue. The name may not ring any bells but you've seen him before in countless tv shows (including `The X-Files' as an arrogant fellow agent of Scully's and Mulder's) and films (one of Tom Cruise's fellow agents in `Jerry Maguire' and in this summer's blockbuster `The Patriot' as a racist who sees the error of his ways on the battlefield), but his biggest claim to fame seems to be as the greasy, bespectacled chatterbox philosophizing taxi hack, Jimmy The Cabdriver, in a series of promos for MTV in the '90s. Well all that's about to change in this> starmaking role in a devilishly funny and accurate look at the relationship war between men and women.

Logue, who pulls a De Niro by gaining nearly a hundred pounds, stars as Dex, a self-deprecating part-time kindergarten teacher who attends his ten year college reunion in the dusty oasis of Santa Fe, New Mexico where he is told by stunned classmates at his jarringly gone-to-pot visage that he was like Elvis. `Yeah, well now I'm Fat Elvis,' he says with a hip shake and a smirk. It is here the journey begins into Dex's eventual chipping away at the wall of sardonic intelligence he's built since attending the university. Dex has a certain acquired charm that he attributes to his own quasi-philosophy, the film's title, referring to the ultimate in guy coolness as being a Steve (as in McGarrett - the Jack Lord character of `Hawaii Five-O', Austin, `The Six Million Dollar Man' and McQueen, the coolest actor of all time, or any suave icon down the pike: James Bond, James Dean, et al.) - and the opposite being Stu - and the certain guidelines in wooing the opposite sex wrapping up with his ultimate kwon, `We persue that which retreats from us.'

At the reunion he bumps into Syd (Goodman, the stunningly attractive sister of the filmmaker), a fellow alumni who turns out to be one of Dex's apparent number of sexual conquests in which he later learns he cannot recall her at all. She is equally self-effacing, smart and opinionated and naturally proves to be the ultimate love of the loveless (`I love my dog') Dex. Here the plot sets into motion the inevitable formula of two people so right for each other yet both guarded, Syd for her share of heartbreaks and Dex for his chronic lying and seductive charisma like some sort of catnip for women including the wife of one of his pals, who he's engaged in a hot affair.Logue makes Dex sympathetic, funny, pathetic, infuriating, likable and ultimately an original character the likes haven't been seen since John Cusack's hey dey in the Eighties and the characters of the 90's indie comedy, `Kicking and Screaming' about arrested development and lifelong search for the perfect love. Dex is an enigma and the joke is that Dex realizes how unsavory he has become which also is the underlying angst he knows all to well: someone with so much potential only wasted by his own hand.

Goodman and her sister both excel in portraying women who are smarter than men think and provide the true anchor in a freely funny comedy that also examines one's own frailites and insecurites on a truly appealing level. Co-written by the sisters and Duncan North, the real-life model of Dex, the dialogue rings true in a brilliant string of set ups for Dex to pontificate before he deflates himself in recourse.

One of the best films (and comedies) of this year (or any). And remember that name: Donal Logue.

The Tao of Steve: Casanova. Lothario. Stud. Whatever the moniker, everyone knows the type: a guy with stunning looks, a killer smile, lines that don't sound like come-ons, a silky smooth demeanor, an athletic build, whose only problem is deciding which women's numbers to cull from his rolodex. Why women gravitate towards these men is no big mystery. Why they are drawn to the Dexes of the world is.

Dex doesn't even cut it as "the average guy": an overweight, unkempt slacker, he teaches kindergarten, thinks pot is the breakfast of champions, spouts Taoist philosophy and sleeps around enough to be a mattress tester. His life creed is based upon the Steves: Austin, McGarret, McQueen… men who epitomized cool, weren't afraid to get roughed up, never pursued women and for whom things always worked out. His entire belief system is thrown into disarray when he meets Syd, a bright, headstrong opera set designer, with a flair with life and a sixth sense for B.S.. Suddenly Dex finds himself in the role of pursuer.

Good "relationship movies" are rare. Rarer still is finding one that approaches the subject from a male's perspective that isn't steeped in machismo and reeking of testosterone. Almost unheard of is to find the selfsame movie with a hilarious comedic tilt. Unlike "High Fidelity", the recent pre-midlife crisis movie which only skimmed the surface of relationships (but was a brilliant movie nonetheless), or "Autumn in New York" the shameless Rogue-sees-the-light-tear-jerker, "The Tao of Steve" is the thinking man's "About Last Night" - the intangible mixed with the right amount of brashness.

"Tao's" success is twofold: it boasts a tight, witty script - how many romantic comedies can you think of that are peppered with quotations from Lao Tzu? - and true to life characters. The "hero" is largely biographical, based on a friend of the director's who contributed heavily to the script. The Dexes of the world refuse to ascribe to the accepted maxim of relationships - men chase women get accepted/rejected, repeat if necessary. By adopting a calculated aloofness (not to be confused with jerks - we'll ignore the whole "Bad Boy Syndrome" discussion) they engender mystery and curiosity. Although it sounds ridiculous it actually works - I know two guys who could have been the model for Dex (I don't think there would be a strong reverse correlation however, as men generally don't understand signals- we're a bit thick that way…). Psychology and writing aside, the actors definitely bring the story to life.

Ottawa born Donal Logue, pulled a DeNiro, gaining 45-pounds for the role of Dex - now that's dedication to the craft. Having seen Logue previously only in bit parts - he has over thirty to his credit - I didn't think he could handle a lead. He quickly dismisses any doubts with his impeccable timing, both dramatic and comedic, which garnered him the Special Jury Prize at the Sundance Film Festival. Logue creates a likable cad whose deviousness we both admire and despise, making his epiphany that much more enjoyable. Greer Goodman (in her first screen role) is an admirable foil as Syd, the woman who cuts through Dex's smokescreen and smashes his carefully cloistered world.

If you've grown tired of all that Hollywood has to offer, or more appropriately, what it fails to deliver, this may be the movie for you.

Dex is a ladies man who has a Zen-like art of seduction under his belt. So despite the fact that his belt has expanded since his best days in high school, he generally still has that going for him even if he has generally underachieved in everything else. Basing his rules around the approach of Steve (Steve being the embodiment of American male cool) Dex has managed to get into more beds than his looks really should have allowed him to and generally he is happy despite being a slacker in his late twenties. When he meets Syd though he finds himself feeling a bit more than normal (which is nothing) and genuinely liking her as a friend. Will she make him look again at his approach to life?

The title should at least give you some idea of the type of film this is going to be because it manages to sound cool and interesting and a bit hip without really doing a lot – which pretty much sums up the appeal of this as a film. The story is essentially quite a nice romance but it is set in a post-modern word of slackers who have relaxed jobs, relaxed morals, relaxed approaches to life, relaxed houses and generally just shoot the breeze about nothing. I suppose it will depend a bit on your age but, as some in his late twenties (at least, at the time of writing I am) I suppose I am target audience and I must admit it quite won me over. The story doesn't really go to any depth and, at the end of the day it does just what you expect it to do in terms of how it ends but it manages to get passed all this by having the same relaxed attitude of the characters.

I'm sure it was not as easy to put together as it appeared but the film moves nicely along with a lot of pop culture references, slacker humour and a touch of genuine humanity in the romance. It wasn't the most convincing story or scenario but I was so happy to just buy into the cool nature of the world within the film that I forgave it perhaps a bit too easily for this. The direction helps because it all looks sunny and chilled, while the use of music is cool without being too obvious. The cast also help and, in particular, sterling work from Logue who manages to take a fat, sexist womaniser and make him into a character who has those characteristics but still managed to make me like him and care where his story went. Goodman gave a good performance and, like Logue, she came over very natural (probably helped by being the writer). Although these two carry the majority of the film the support cast are still pretty good and enjoyably fill in the film and match the mood.

Overall a chilled and enjoyable little comedy that drew me in despite being slight and not having that much to it. Probably best watched by older members of the slacker generation or those that have grown up but still look back affectionately, this is quite fun and quite charming even if these qualities are covering up a multitude of sins in the background.

no wonder this thing snagged donal logue top acting honors at the 2000 sundance festival, but i don't know what the better script could've been. this thing has it all: guy talk, girl talk, echoes and resonance, love and respect for all its characters, wit, poignancy, politics, uplift, a tremendous depth and breath of literary allusion, and a substantial dose of digestible philosophy from some of the greatest minds of world thought. seriously, this may be the first movie to quote Kirkegaard and george jetson in the same scene and make them both look wise. it's a movie about love, about wisdom, about fun, but mostly it's about learning real values and gaining all the rest through learning to be the best person you can be. that's a big load for such a funny film, but this one handles it all and then some. this doesn't mention the beautiful sets, the music (original, appropriate, and inventive, though probably the film's weakest suit)the cute kids and the celebration of contemporary gentle-souled hipster lifestyles. AND it's only 82 minutes long, you can almost fit it in on a lunch break but it will last you far longer than that. thanks so much to Greer and Jenniphr Goodman for their script and direction. from all us steve wannabes, but actual duncan north's of the world, thank you!