Doce Liberdade

I had hoped to like this film a bit more than I did, and I certainly expected to laugh more. Sweet Liberty is an Alan Alda project through and through. In it, he plays a history professor whose historical novel is going to be made into a movie during one crazy summer in the little college town. Everyone is excited about the upcoming shoot, but Alda's excitement turns to disgust once the cast and crew arrive. He finally gets a look at the script and finds out that the movie will be sort of a sex comedy with little regard for historical accuracy. Alda then sets out with the screenwriter to try and convince the actors and director to film his own version. While all of this is going on, we sit through several arguments about Alda's relationship status with his girlfriend. We are also treated to the eccentricities of Alda's ancient mother played by legendary actress Lillian Gish. Overall, there is just too much going on, and the film never quite sustains any comedic momentum.

The film has some genuine strengths. The cast is an eclectic bunch of old stars, new faces, and genial nobodies. Alda and Michael Caine basically play themselves and do a very good job. Michelle Pfeiffer is not only beautiful as hell, but she also gives a strong early performance as the lead actress. Bob Hoskins' character is well-written, but he plays the man in too shrill of a manner to be taken seriously. His screenwriter character has some wonderful points to make about using flattery to get the attention of the actors and director if you want them to change what they are doing. But he is just so hyper that you cringe whenever you hear his voice. Saul Rubinek is good as the hotshot, pompous young director who is only out to show the audience three things: People defying authority, destruction of property, and people taking off their clothing. That's what industry research shows that younger audiences want, he informs Alda more than once.

There are other problems besides the annoying Hoskins character. I'm sure it would seem desirable for an icon like Lillian Gish to be included in just about any film at that time. However, her character and scenes are just not needed and end up being more of a distraction than anything else. Alda and his girlfriend have about the same argument at least half a dozen times. Another scene looks like it will give a huge laugh payoff, but it falls flat. In it, a group of stunt men are in a bar with some of the local re-creators of the Battle of Cowpens who will also be used as extras in the film. The stunt men are trying to tell the amateurs how to fall in the battle scene. One of the stunt men breaks out one of those harnesses that people use to get pulled backwards through doorways in bar fight scenes. And you think you are going to see one of the amateurs get unknowingly hooked up to it and taken for the ride of his life. But alas, they apparently thought it would be funnier for the guy just to fall down on his back like an idiot. Another missed opportunity! 5 of 10 stars.

The Hound.

The "making of a Big Hollywood Movie" is certainly not a new idea for a comedy. Over the years there have been many movies like this--most recently David Mamet's "State and Main." What Alan Alda did for this movie is playfully comment on the state of the blockbuster (six years before Robert Altman's "The Player"). In 1986, the "blockbuster movie" was in its early stages. This film originally came out around the same time as Top Gun--case in point. Saul Rubinek plays the obnoxious Hollywood director (what? An obnoxious director?) who turns Alda's historical, and serious, book about the American Revolution into a romantic comedy, complete with big stars who take their clothes off. What makes this movie different from Alda's other films is that there are no serious undertones. Everyone is having a great time, and it shows. Michelle Pfeiffer, in one of her first starring roles, has rarely been funnier. Michael Caine struts his best comic stuff. And Bob Hoskins--how can you go wrong? The film has an obvious mid '80s feel (the music is terrible), and Alda's direction seems more suited for television, but this is still an enjoyable movie, less successful and acidic in its approach to Hollywood and its stars and blockbusters (compared to Sunset Blvd., The StuntMan, and of course The Player) but still worth watching.

First of all, let me say that Michael Caine is pure genius in this film. His portrayal of a screen-idol that "makes the girls wet their pants" is perfect!

Michelle Pfeiffer's part is a bit 2-dimensional, but she does have her moments. Even Alan Alda is surprisingly good (gee, I had never realized before that he could act!).

Anyway, the film is very light-hearted and easy on the mind. Some good laughs, some nice scenes, etc.

I'd recommend renting this, making a nice disgustingly buttered tub of popcorn, a nice big glass of sugared soda ... sit back and enjoy!

Alan Alda plays an historian who has written about an historical character. When his book is made into a film, the character he feels he knows so well is brought to life by an actress. The history he knows so well is translated into an "historical" film, with the fact gradually draining away. The film gently, lyrically plays on the interface between reality and fantasy.

An irony is that in "Sweet Liberty" Michael Caine plays an actor who plays a character based on Banastre Tarleton, a British commander of Tory troops in America during the Revolution. In 2000, the German director Roland Emmerich made a film called Patriot in which Jason Isaacs plays a character based on Banastre Tarleton. In the Emmerich film, the fact has drained away and the British commit atrocities more appropriate to Germans in the Second World War.

I like this very silly movie about the making of a movie set during the Revolutionary War. History takes a back seat to the backstage madness as film crew invades a small town in the American South... ...except that this film was filmed on Long Island. Living on the Island I get great joy watching all the technical gaffes in the film, only the lead characters cars have non-New York license plates, a Long Island Railway Train goes by in the background and on it goes. You don't have to have sharp eyes to see the errors, they are glaring if you know that they are there. They don't take away from the fun, they add to it since as Alan Alda's character quickly finds out, there is nothing real about making movies.

The cast is great across the board, with everyone seeming to have such a good time its infectious.

See this movie, its just a lot of fun.