Swimming with Sharks

"Swimming with Sharks" was made right around the time Kevin Spacey was becoming a rising star - his name was becoming well known enough that he could help finance low budget movies. Along with "The Usual Suspects" he helped "Swimming with Sharks" get off the ground, and now ten years later (it was given wide release in 1995) it still holds up well as a very, very dark comedy.

In fact, comedy isn't the right word. This shouldn't really be classified as comedy. It's not that funny. It works better as a dark satire - I expected something like "War of the Roses," but instead I got a Tarantino version of "Office Space" (complete with torture, violence, revenge and mayhem!).

Frank Whaley stars as Guy, a typical nobody who dreams of being a somebody. (Even his name confines him to anonymity.) When he lands a job working for world-famous producer Buddy Ackerman (Spacey), his future looks bright...until he realizes what he's in for.

Spacey delivers the best performance of the film, yelling, screaming, and throwing hissy fits practically every time he's on screen. But he never pushes the limits. He's always believable as a self-absorbed, ego-maniacal, ruthless producer; the director claims on the DVD commentary track and documentaries that he based the character and many scenes on actual things that happened to him while he worked for unnamed producers in Hollywood. Joel Silver is rumored to have been the basis for Ackerman.

The movie isn't great and never really achieves the amount of laughs I wanted but if you view it as a very dark drama-comedy you're more likely to enjoy it. I still found myself quite entertained and taken aback by how daring and unique this movie actually is - no one can condemn it for resorting to clichés. The ending is a punch in the stomach, I never expected it.

Whaley is good at playing the over/underwhelmed everyman and the direction is OK (if just so). The best aspects are the witty script and Kevin Spacey's scene-stealing performance; together he has good chemistry with Whaley and the movie succeeds based on the actors' success in their roles.

I was so depressed after watching "The Men Who Stare At Goats" that I actively sought out Kevin Spacey movies to help redeem my perceptions of him. I saw "K-Pax" last week, which was adequately engaging, then found "Swimming with Sharks" on the IFC. What a find! This low-cost(less than $1M) film must not have had a very big marketing budget -- it completely escaped me at the time -- but it's one of the best performances Kevin Spacey I've ever seen. An abusive, self-indulgent, arrogant boss in the film industry, his role easily translates into that of a recognizable evil boss in any field. Spacey nicely runs the gamut of expression from god-like to humbled. His once-idealistic assistant is played by Frank Whaley, who never really saw his full potential subsequently develop in his career but has had nice turns in Pulp Fiction and a number of high-production TV series. Whaley too should be commended for his ability to grow the character from a wide-eyed beginning his dream job, to a vengeful warrior out for blood. The film centers on the dysfunctional relationship between these two and is weak only when it attempts to introduce minor roles featuring Michelle Forbes (Maryann on "True Blood") and Benecio del Toro (though these actors perform well with what they've been given).

With all the ups and downs of Kevin Spacey's career, 'Swimming With Sharks' kind of came along before he seemed destined to hit the dizzy heights or the crippling lows. Before he hit the big time with 'American Beauty' he played what would eventually become his 'go to' character, i.e. a sleezebag.

Sadly, if the media are to be believed, life has imitated art, but I like to do my best and separate the art from the artist. So, if you can bring yourself to actually watch a Kevin Spacey film these days, this one will certainly showcase much of the acting talent and stage presence that would cement his 'A-list' credentials.

Spacey plays 'Buddy Ackerman' - a 'Harvey Weinstein-esque' type film producer who is well-known in Hollywood circles (you can write your own comparison gag for that one!). And he's a completely b******d (again, draw your own comparisons!). He treats his staff - and in particular his personal assistants - like dirt. Which is not good news for his latest victim/employee 'Guy' (played by Frank Whaley). Although Spacey is the star that doesn't mean he's the main focus. Whaley is the main character whose life we follow as he tries to juggle actually having a life while carrying out/serving his new 'master.'

The film was set in the mid nineties and it shows. Everything from the haircuts to the suits seal it in its time period. The film's look and feel hasn't aged that well, but at least the story seems pretty timeless of a put-upon employee being mercilessly exploited by his employer. The direction is pretty standard for this type of drama/black comedy/satire and there's no memorable soundtrack to speak of. It does tend to do that thing where it starts near the end, so you can see how the characters end up and the bulk of the film is - technically - long flashbacks for us to see how the characters end up the way they are. Personally, I'd prefer to see the story told in a linear fashion as I thought it didn't really need to have time played about with.

I have to confess that I'd never heard of Frank Whaley before I watched this (and I've never seen himself in anything since!) and he does seem a little out of his league while playing up against Spacey's considerable charisma. Whether you love or hate Spacey (on screen or in real life), this is his baby and it's worth a watch just to see his acerbic put-downs.

While through the ages, many noteworthy motion pictures detailing the film industry itself have been made, the majority concentrated on a highly positive tone, portraying Hollywood as the organization which "brought dreams to life", or similar self serving platitudes. However, in the early 90s, a new trend began to emerge - films which delved below the glossy exterior of Hollywood and began to expose more negative aspects of the industry. One would be hard pressed to find as fitting an example of this Hollywood introspective neo- realism as writer/director George Huang's semi-autobiographical (but hopefully only to an extent...) Swimming With Sharks - a biting, cynical look at the interior of the film industry which challenges the preconceptions of the industry and its bleak aims.

Like Robert Altman's The Player, Swimming with Sharks offers a harshly critical commentary on the corporate moneymaking machine that is Hollywood, but from the opposite end: the perspective of a low level assistant striving to rise in the ranks. However, similar to Altman's work, Huang's film dabbles with the notion of being a black comedy or darkly satirical take on the business end of the film industry, but ultimately lacks the acerbic wit needed to succeed on such a front. As such, while the occasional moment of darkly gleeful comedic insight may derived, for the most part, the film falters on attempted darkly ironic comedic moments which come across as too heavy handed to be truly funny. The film's main strength is in its strictly dramatic climax; its harrowing and powerful turn of events toying with notions of all consuming ambition and free will in a truly gripping fashion. Combined with a numbingly unexpected and chilling ending scene, the film's finale is easily its strongest point - enough so to carry the occasional botched comic moment from earlier in the film. However, Tom Heil's understated and affecting single piano score and the occasional moment of intriguing cinematography also add to the overall quality of the work.

Kevin Spacey is the main pleasure to behold here as the film's main selling point, the "boss from Hell" figure Buddy Ackerman. Alternating between wryly funny, starkly powerful and disconcertingly human, Spacey, though disappointingly denied the ability to chew the scenery quite as much as one might hope for, easily walks away with the picture with his top notch work. Frank Whaley gives an adequate performance as the constantly put upon assistant who finally seeks revenge, though his character is given next to no development and Whaley lacks the engaging charisma needed to really sell the role. Michelle Forbes also comes across as disappointingly flat as an ambitious business woman caught between Spacey and Whaley, though she shines in certain scenes. Watch also for an early appearance by Benicio Del Toro in a tiny role as Whaley's predecessor.

While it may falter as the black comedy it clearly wants to be throughout, the film excels as the harshly critical drama it becomes by the end. An undeniably maliciously enjoyable performance by Spacey keeps the film afloat, and while it may occasionally come across as lopsided or falling short of its potential, Swimming with Sharks keeps enough surprises up its proverbial sleeve to remain interesting throughout as a cynical treatise on ambition and the film industry which thrives upon it.

-7/10

Powerful movie that shows the nastier, more foul-mouthed side of Hollywood. Guy, played by Whaley, is a Hollywood rookie with no real experience but some lofty goals. The movie charts his learning of the ways of Hollywood through becoming an assistant for fastidious big-shot producer Buddy Ackerman (Spacey), and his subsequent unlearning of the 'normal' moral values that apply almost anywhere else. A remarkable performance from Spacey who is by turns searingly offensive, scathingly funny and (funnily enough) vividly human. Making an audience feel for such a revolting character is a feat not many could accomplish, but Spacey's up to the task. Frank Whaley (possibly known to you through a bit part in 'Pulp Fiction') also turns in a very strong performance as the disillusioned young assistant who falls in love (or rather, in bed) with a female producer played by the sultry Michelle Forbes. Spacey and Whaley's interplay in key scenes is riveting, and for the most part, the younger Whaley manages to stay out of Spacey's shadow.

The movie's ending is quite unforeseeable, and its message can be construed either as darkly humorous satire against Hollywood, or as a nihilistic comment on the ways of mankind. Judging by the not-so-humorous tone of the movie (though ludicrously enough it was marketed as a comedy), to me it feels like the latter applies. Definitely worth seeing, even if only for Spacey. 8/10