Review of Being John Malkovich (1999) by Cinemassacre94 — 20 Mar 2016

These days, critics (and non-critics, for that matter) are fond of complaining about how multiplexes are populated by cookie-cutter motion pictures that follow safe, formula-derived patterns designed to please audiences who want a different version of a story they have already seen dozens of times. And, while there's some truth to the maxim that "there's nothing new under the sun," Being John Malkovich tries hard to be the exception. Admittedly, the themes addressed by the movie - those of identity, celebrity, and manipulation - are familiar, but the manner in which director Spike Jonze and writer Charlie Kaufman address them is fresh and inventive. I'm not arrogant enough to claim that nothing like Being John Malkovich has ever previously been committed to celluloid, but, if it has been, I haven't seen it.

This is the first movie to be directed by Jonze, who cut his teeth doing TV commercials and music videos. Unless you're isolated from all aspects of pop culture, you've probably seen his work. (He also has one of the four primary roles in Three Kings.) As is the case with many of the so-called "MTV filmmakers," Jonze displays a strong sense of style. However, unlike most of his contemporaries, he does not rely on quick cuts and visual gimmicks. He has sound, mature cinematic instincts.

Kaufman's script is not constrained by viewer expectations. For about 110 minutes, he pushes the envelope, taking us in new and unexpected directions. Every time I thought I recognized where Being John Malkovich was headed, the movie surprised me. The screenplay is as funny as it is clever. Some of the jokes are of the "big laugh" variety, but few are representative of the cheap shots and dumb humor that have become commonplace in '90s offerings. Being John Malkovich revels in smart comedy instead of wallowing in the opposite. And, alongside the laughter, there's plenty of material for contemplation. Cinematically speaking, this is a well-balanced, multi-course meal.

Unlike most comedies, which go for laughs without worrying about depth, Being John Malkovich has both. The film raises questions about the nature of identity, and how some people are only completely free when their real self is hidden behind a mask or beneath a costume. With Craig as a puppet-master and Maxine playing him like a musical instrument, issues of manipulation rise to the surface. How much of what we do in our day-to-day lives involves attempting to pull the strings of others, or having our own strings pulled? Being John Malkovich also addresses the appeal of stardom with greater impact than Woody Allen's Celebrity. Certainly, some of those willing to pay to enter the portal are interested in having a temporary personality transference, but others want the experience of being a star. In fact, taken as a whole, this could all be seen as a commentary on the crafts of acting (taking on an alternative identity) and directing (manipulating others). Beyond that, there are issues of ethics and commercialism (will we exploit anything?), as well as addiction (some customers become addicted to the experience). And, for those who like to see the dark side of things, the film offers unsettling threads about the annihilation of identity and the price of immortality. Is this too much material for one movie? Not with Jonze at the helm and a capable cast in front of the cameras.

That cast is headed by John Cusack, one of Hollywood's most underrated actors. Cusack (last seen in Pushing Tin) has astonishing versatility and is able to thoroughly inhabit the skin of any character he plays. Craig isn't the most pleasant of men - during the course of the film, he does some unconscionable things - but Cusack is so effective that we form a tenuous bond with him anyway. As Lotte, Cameron Diaz is almost unrecognizable. Like her male co-star, she disappears into the character (with the help of an atypical hair style). Catherine Keener, for years the muse of filmmaker Tom DiCillo (Living in Oblivion), continues to show why she has always deserved the greater exposure she is starting to get.

Then there's John Malkovich, who plays an exaggerated, fictionalized version of himself. Although that might initially seem like a simple role, it isn't, especially considering that Malkovich must re-invent himself as a man being possessed by others. His performance is flawless, mixing a version of the world-weary actor with an imitation of John Cusack and a touch of Steve Martin from All of Me. Jonze and Kaufman chose Malkovich as the title character because they wanted someone who is both well-known and a little elusive.

The movie is surreal precisely because Jonze plays everything straight. The characters are not aware that they're in some kind of distorted reality, gazing through the looking glass darkly. It is a triumphant debut for Spike Jonze.