Crazy Like a Fox

There is nothing complex about "Crazy Like A Fox". It is the straightforward story, really a fairy tale, of a man who through bad luck or being irresponsible, or both, is forced to sell his historically rich Virginia farm. Most certainly the entire movie is both unrealistic, and yet at the same time quite charming. If at times it seems a bit too "warm and fuzzy", that is because it is. The yuppies seem to give up way too easy, and the joyous singing and dancing is overdone. The performances are fine, the scenery is beautiful, but the story lacks realism and depth. I would not call this a comedy, it is more a family feel good movie that will appeal to some, while others will most likely be dozing off. - MERK

I was pleased to screen this film at my festival:

The Santa Fe

Film Festival... this is a quirky and heart felt dramedy with a strong message. The acting is terrific.

I love the tone. A great story. Definitely worth seeing. You root for the hero. You feel pride for the cause. You can feel the scenery. I also like the feel of times past.

Mary Mcdonnell is a gem. The male lead is also addicting. What a wonderful face. I loved this film. Very well directed. A unique film unlike anything I've ever seen.

I was delighted to be part of the audience when this film was shown in Washington, DC,at the National Museum of Women in the Arts. The storyline reflected a frequently overlooked "scenario" that is part of many small, southern towns, i.e., the mandatory sale of large, plantation style houses because they are too expensive to maintain in today's economy. I thought each of the actors demonstrated an "honest" portrayal of the emotions and internal conflicts that would be a part of this kind of situation, especially when these homes have been in families for many generations. I also think this movie was sensitive to another part of this scenario that is seldom addressed, because in today's world it is not considered "politically correct." In many instances, some of these changes adversely affected the domestic staff, because they considered themselves to be part of these families. With that being said, I think that Myrrh Cauthen gave dignity and honesty to the role of the housekeeper. And, this story was carried out amid the beautiful scenery that is part of rural Virginia. Great Job.

All the world loves a lover and comedy tries to take us into a green world. This movie gives us both. The hero of Crazy Like a Fox loves his literally ancestral home and its traditions and his world is emerald Virginia.

This heart-whole and superbly photographed movie allows its audience to relax. They know or intuit that they're in good hands. The calm authority of director Richard Squires focuses on the human heart and what makes it beat, avoiding tricks, attention-grabbing gimmicks and the latest trend. Instead, he gives his attention to working with Roger Rees, Mary McDonnell and a skilfully selected ensemble cast to create a world of persons, loyalties, friendships and dignified passions. Many movies come from toolkits. This story comes up out of the soil and the traditions of the state that has given us eight presidents and -- although a modern story set in the present -- gives you an idea of what you have to mix together to get a Jefferson or a Washington.

Crazy Like a Fox is a deeply flawed film that nonetheless has its merits. Well acted (mostly) and beautifully filmed, the movie suffers from a ham handed script and dubious direction. The plot when analyzed simply doesn't make much sense. The occasional voiceovers do more to muddle the story than to clarify:

Nate (Rees) sells his historically rich but dilapidated house, finds out the new owners want to tear it down and decides to live for months in a cave on the edge of the property (in Civil War military garb). When the owners go out of town he moves back in as a squatter. He elicits the sympathy and help of the locals, the sheriff and the local judge who back him up despite the fact he is clearly in violation of the law and collectively and somewhat inexplicably they eventually drive the new owners away.

OK, sure we're sympathetic to ruthless developers raping the land, but what exactly did Nate living in a cave accomplish other than cast doubt on his sanity? And are we to be sympathetic to people who take the law into their own hands, and use nepotism and small town politics to usurp the rule of law simply because they don't like outsiders? Who exactly then are the bad guys?

Shakespearean actor Roger Rees in his first film role is generally good, problems with his accent aside and Mary McDonnel gives a very nice performance. One feels that both would have done better with more coherent direction. The cinematography and the score (by Washington composer David Kane) are both first rate.

All in all, CLAF represents opportunities lost.