Cool Blue

The box art for the VHS release of "Cool Blue" seemed to suggest that the movie was a comedy of sorts. It really isn't - it's more of a light- hearted drama. It's quite an odd little movie, and it's offbeat nature may be why Woody Harrelson decided to choose the movie as his leading man debut, since it is so different from the tone of his hit show "Cheers". It's a kind of rambling movie and kind of unpredictable. While the unpredictable tone of the movie is kind of refreshing, at the same times there are several moments in the movie where viewers will ask, "Just where is this movie going?" In the end, the movie isn't one with a big impact, but will satisfy viewers on a slow day who want to see something a little different.

One last thing: Why is the movie called "Cool Blue"? The choice for title isn't really explained.

Small time thief, part time artist Dustin (Woody Harrelson) meets a chick (Ely Pouget), loses the chick, and goes looking for her. stuff happens along the way, but the music and plot are kind of silly, so right off, we're not too invested. Looks like a collaboration between Mark Mullin and Richard Shepard; they share writing and directing credits. another note - trivia says this film was held in storage for two years before being released. they should have held it another two years! such low ratings on imdb. part of that is the in-appropriate music - it never seems to match the current scene. the script is pretty lame too. i guess the low point is when a little girl starts asking Dustin what an abortion is. just creepy. and the world's weirdest interaction with a stranger in a bar (Sean Penn, doing a TERRIBLE irish accent). this wasn't anyone's very first role, but i'm guessing none of the cast bragged about making this one. pass on watching it. this one showing on Epix channel. snoozer. so many issues.

"Cool Blue", a laid back film, was co-directed by Richard Shepard and Mark Mullin. The movie, which evidently went directly to video, gives us a bird's eye view on the world of a struggling artist, Dustin, who is committed to his art and to the pursuit of Christiane, the woman that has made a deep impression on him. The movie has a disorienting start as we watch Dustin and Buzz enter a convenience store and our first reaction is they are going to hold up the place, but it becomes clear, they are starving young artists instead of robbers.

This 1988 film was Woody Harrelson's second credited movie. He appears as Dustin. It shows a young actor with a lot of promise at the center of the story. His best friend is played by Hank Azaria, who was also starting out. Ely Pouget is seen as the woman that awakens a passion in the young artist. Ms. Pouget should be seen in movies more often because she shows a talent for acting that seems to be natural.

The most interesting aspect of the picture is the impressive cameo by Sean Penn, who appears as Paul, the plumber. We have to do a double take, as the actor is almost unrecognizable blond actor with a pony tail.

Richard Shepard was matured since this picture, as shown in his latest effort, "The Matador".

Dustin, a starving artist, has a chance encounter with the beautiful Christiane the day after his 27th birthday. He spends the night with her, then becomes obsessed with her when he wakes up to find her already gone. Her own home life is less than satisfactory, with an abusive husband who has destroyed their possessions by the time she returns to their home. Having idealised her in his mind as the woman he wants to be with, Dustin makes Christiane into his artistic muse and sets off on a quest to find her.

Along the way, we are also introduced to Paul (Dustin's manager), Buzz (Dustin's best friend), Christiane's kid sister Rebecca and Phil, the plumber who often drinks at Dustin's and Buzz' favourite watering hole, who puts on a fake Irish accent and tries to get Dustin's spirits up.

This was the film that got Woody Harrelson's name out there as a film actor (he had previously been on TV in "Cheers", and "White Men Can't Jump" and "Natural Born Killers" launched his career as a leading film actor). Hank Azaria (pre-Simpsons) also has a role as Buzz. Ely Pouget (better known from "Lawnmower Man 2" and "Red Shoe Diaries") plays the lovely, enigmatic Christiane, while John Diehl stars as her husband Clayton. There are also guest appearances from Sean Penn (albeit uncredited) and director Mark Mullin's cousin Elisabeth.

To me, this film is basically the 1980s neatly packaged into a 1 1/2 hour movie. It's nothing groundbreaking, nor is it any sort of "Taxi Driver" or "Romper Stomper", but it's far better than many modern films. It's also an useful lesson about how idealising someone (or something) and then finding out the truth about that person can be disappointing.

My review was written in February 1990 after watching the movie on RCA/Columbia video cassette.

Surprise guest appearance by Sean Penn livens up this otherwise trite "finding myself" direct-to-video release.

Woody Harrelson is the nondescript hero, a budding artist in L. A. who's introduced to us shoplifting for food with his cynical pal Hank Azaria. Cornball plot line is set in motion when he falls in love at first sight with Ely Pouget, who picks him up (for a one-night stand) at an art gallery.

Searching the rest of the film for her, he's the centerpiece for sophomoric satire of art and show biz types by filmmakers Mark Mullin and Richard Shepard. It's the sort of self-indulgent, student film rumination that has obsessed tyro helmers since the '60s.

"Cool Blue", a/k/a "Creative Detour", perks up briefly just when Harrelson is at the end of his tether, having given up his quest to find Pouget. A guy in a bar throws peanuts at him and turns out to be Sean Pen, sporting a blond ponytail. Using a variety of accents, the flamboyant thesp lays a heavy philosophical trip on Harrelson and disappears, like a guardian angel.

This guest shot resembles the equally uncredited cameos by Emilio Estevez, Charlie Sheen and Judd Nelson in exec producer Cassian Elwes' previous pic "Never on Tuesday". Unfortunately, Penn takes a hike and the film returns to its plodding pace: should Harrelson leave L. A. for the New York art world or stay with his buddy and Pouget (when he finally digs her up in the final reel)?

Acting is acceptable, though the supporting cast hams it up. Both Pouget and Harrelson are rather ordinary looking, with another one-night stand, buxom Julie Aronson, stealing the spotlight from the leading lady. Tech credits are on the cheap side.