Qui est Harry Kellerman?

Harry Kellerman was a most unfulfilling film for me, as unfulfilling as Dustin Hoffman found his life to be in this movie. Hoffman plays a successful rock composer who is going through a mid life crisis and finds all of a sudden in his middle Thirties he's not a really happy guy despite all the money in the world and the toys that money can buy. His best time is flying his private plane, talk about toys.

For some reason I couldn't get into this film or feel any kind of sympathy for Hoffman's character of George Soloway. Hoffman's best friend seems to be his analyst Jack Warden, hamming it up in his best Viennese accent. Dustin has more real and imagined time with Warden than anyone else in the film. In fact Warden functions as an alter ego for him, more inside his head than in real life on the couch.

The last straw for Hoffman seems to be some mysterious dude named Harry Kellerman who for some reason is calling up all of Hoffman's friends of both sexes and badmouthing him all over the place. As his relationships crumble all around him, Hoffman goes on a frantic manhunt for Kellerman.

With all the imaginary sequences in this film, if you can't figure out who Harry Kellerman is before a quarter of the film is over you haven't seen too many films at all. Think a kinder, gentler Fight Club.

Hoffman does the best he can to make some coherent sense out of his character, but in the end he's not someone I care terribly about. Rose Gregorio as his ex-wife, David Burns as his father, and Gabriel Dell as his cheerfully hedonistic songwriting partner are the best in the film.

Barbara Harris as a woman who seems to have as much angst as Hoffman got an Academy Award nomination for Best Supporting Actress, she lost in the Oscar sweepstakes to Cloris Leachman for The Last Picture Show, an infinitely better film. Harris's character is interesting, she represents a last chance for Hoffman at love. She has her problems, but without as much money, she seems to be coping a lot better. Another reason for me to not care about Hoffman's George Soloway.

The ambiance of the early Seventies rock scene is captured well. Would that George Soloway in Harry Kellerman be someone you could actually get worked up over.

This is a difficult movie, but worth staying with it if you like fully developed characters, emotional depth and you don't mind something outside the normal linear Hollywood story telling format. Dustin Hoffman gives a fine nuanced performance and Barbara Harris is wonderful as a vulnerable woman all too aware that she has lost her youth. Her performance is touching and every moment she is on screen shines with her unique brilliance.

Despite its nudging, rambling title and Dustin Hoffman's mildly hippie appearance, "Who Is Harry Kellerman..." is a rather old-fashioned quest for one man seeking the Meaning of Life, which screenwriter Herb Gardner sees as being undermined by the inevitability of death. There are no pretenses here towards embracing a pseudo-hip scenario, and the lack of modish overtones keeps the film relevant and fresh. Hoffman plays an East Coast songwriter, currently being hailed by Time magazine as a prophet, who sees nothing meaningful in his existence, harkening back on his ordinary boyhood in order to make peace with the present. Accentuated by bursts of rock music, and defined by little bits of mordant truth, the film blessedly isn't a silly phantasmagoria, although some may see all this as a con--written by somebody who is out of step with the times (Gardner wrote the coy "A Thousand Clowns" after all). Yet, the movie manages a melancholic, sobering, almost disenfranchised tone, with director Ulu Grosbard mostly interested in revealing something tangible through his characters. Hoffman's Georgie Soloway can't enjoy living without relating it to dying, and so has suicidal flights-of-fancy, paranoiac personal dramas, and surreal sessions with a Viennese analyst. It's a good role for the star, while Oscar-nominated Barbara Harris is wonderful in the small part of a struggling actress who's still in love with 1957. It takes a while to get into the movie's groove, but there are worthwhile thoughts here, helped immeasurably by Victor Kemper's non-fussy cinematography and Grosbard's deep connection with the material. **1/2 from ****

If there were an award for "best opening credits," this movie would be my pick to win, with its quirky fantasy scene accompanied by Dr. Hook & the Medicine Show's marvelous "Last Morning."

The mix of fantasy and flashback without explanation may turn off some viewers, as may the slow pace. It is not plot-driven, but is rather a character study. It also presents a picture of an period in America when modernity began to overtake traditional ways and values.

As a whole, I do not find the film to be one of Dustin Hoffman's best, but I would not have missed the haunting performance of Barbara Harris for the world. The rest of the supporting cast is also extraordinary, even including an unusual dramatic performance by Dom DeLuise, nicely done. Overall, worth seeing.

This is a difficult movie, but worth staying with if you like fully developed characters, emotional depth and you don't mind something outside the normal linear Hollywood story telling format. Dustin Hoffman gives a fine nuanced performance and Barbara Harris is wonderful as a vulnerable woman all too aware that she has lost her youth. Her performance is touching and every moment she is on screen shines with her unique brilliance.