Rien en commun

David Basner (Tom Hanks) is a lovable cocky successful Chicago ad exec who just got promoted returning from vacation. He wants his boss Charlie Gargas (Hector Elizondo) to make him partner. Then his mother (Eva Marie Saint) leaves his father (Jackie Gleason). He must shuttle between his stubborn crass father, and his mother who is happy with her new found freedom. Donna Mildred Martin (Bess Armstrong) is his best friend and high school sweethearts. He is trying to land a big airline account and uses his charm on the owner Andrew Woolridge (Barry Corbin). He sleeps with the media director Cheryl Ann Wayne (Sela Ward) who turns out to be Woolridge's daughter. His father does nothing but complains and is struggling. Then he gets fired from his salesman job.

This movie tries too hard to be jokey. Director Garry Marshall is allowing Hanks to clown around a little too much. The broad comedy doesn't quite fit seeing how he's suppose to be a professional sweet talking the client. He is playing strictly as a wild creative ad exec who jokes around. The broad jokes don't fit either when the movie tries to move into more serious territories. The serious stuff has a bit more heft and that's due to genius of Jackie Gleason. He and Hanks have pretty good chemistry. I also have a minor problem with the over-use of montages to drive the story forward. It's lazy writing.

NOTHING IN COMMON (1986) ***1/2 Tom Hanks, Jackie Gleason, Hector Elizondo, Eva Marie Saint, Sela Ward, Bess Armstrong, Barry Corbin. Garry Marshall's winning serious comedy about ad exec Yuppie Hanks who faces the inevitable: caring for his at odds parents including separations, ageism and finally acceptance. Warm and slyly comic turn by Hanks with some great moments. Armstrong is adorable and Ward is sexy (just needed to state this for no other apparent reason). Best moment: Hanks telling off bullying client Corbin.

Someone mentioned about last night, which they also hated, well its the opposite for me. I was around the ages of the main characters when both these came out and liked both of them. In this movie, you sorta see the early goofy (but very Funny) Tom Hanks doing his transition to the more serious Hanks as the movie goes on. And pretty much was his last real comedy role. Hanks does his usual funny shtick and it works well. And Gleason is great, and sad as an aging ex great sales rep, trying to hang on to his cust. as a changing world leaves him without a place. And the divorce of Hanks Parents thrown in sorta makes this a bittersweet comedy. Overall, its a good movie.

I happened to catch this movie in college back in 1989. At the time though, I only caught the last half, but it really piqued my interest b/c the last scene where Tom Hanks is pushing a wheel-chair-bound Jackie Gleason down a hospital corridor through a windowed overpass was actually filmed where I was born -- Northwestern Memorial Passavant Hospital in Chicago.

Years later, I was finally saw "Nothing in Common" in its entirety on video, and while I liked some parts of it -- mostly b/c of its numerous Chicago location shots -- I thought the film's production value was a little bit low for a Hollywood film as it was produced and directed in such a way as to be reminiscent of network television soap operas and made-for-TV movies. The overlaid 80's soundtrack, for example, gave this movie a sappy feel and exuded tres gauche, maudlin schamltziness, IMO.

Nevertheless, Tom Hanks was great, as usual, in his reprisal of the sympathetic 'everyman' role that has now become his trademark, and I believe that this was Jackie Gleason's last performance. Sela Ward, however, is the number one reason to see this film, as she is from beginning to end the unequivocal scene stealer.

Not only is Sela Ward hot hot hot, Ward brought a certain amount of authenticity in her portrayal of a big-city advertising executive circa 1980s. This is because long before Ward became a model and began her acting career, Ward, who majored in advertising at Ole' Miss, was a real-life advertising copywriter and exec on Madison Avenue in NYC in the late 70's and early 80's. Regardless, Ward's drop-dead gorgeousness did not detract from her believability as the cutthroat yuppie executive, Cheryl Ann Wayne, by one iota.

Great Chicago references though, e.g., Wrigley Field, location shoots in neighborhood pubs, downtown scenes, etc.

The film begins with a barrage of wit from Tom Hanks as an adman whose business is creativity. And indeed why should he not be witty? But then we meet his father, who is on his way to dying the death of a salesman, and his father is just as brilliantly witty. The lines just aren't lines that ordinary people could come up with. Everyone is a little too quick with the comedy, and when the comedy pauses, everyone is a little too quick to come up with the deep but gracefully phrased emotional revelations. And yet the movie is long; though most of the large cast of characters is quite undeveloped, still the script has a mighty load of relationships: Hanks with his father, Hanks with his mother (not so much), Hanks with two different girlfriends, the father with the mother, Hanks with his boss, and Hanks with the big client. The big client is perhaps the worst: the stereotype of the big blowhard who is charmed when you call him a big blowhard to his face.

I think there were two movies here: the one about the workplace, with a little subplot about the father; and the one about the father, with a little subplot about the workplace. I suspect, with no huge evidence, that someone had an emotional investment in not leaving material out. Some of the details have the ring of autobiography.

Several big talents appear in the movie: not only Jackie Gleason, Tom Hanks, and Eva Marie Saint but also Hector Elizondo and, in a tiny role, Dan Castellaneta. Nobody does anything here that he hasn't done better elsewhere, but still it's good to see them all.