Movie Review: What Just Happened (2008)
The book was better.
Seriously, how sad is it that Hollywood can’t make a good movie from a juicy, insidery memoir about the absurdity of making movies in Hollywood? Shouldn’t they own that shit?
Art Linson’s book, “What Just Happened? Bitter Hollywood Tales from the Front Line,” focuses on Linson’s years in the late ’90s producing pictures for Fox Studios, including: “The Edge,” “Great Expectations,” “Pushing Tin,” and “Fight Club.” You look at that list and think, “Well, ‘Fight Club’ anyway.” Except that one was the real disaster. The Fox brass was horrified by the film. Nobody got it. And it led to a shitty marketing campaign that smoothed over the very things—its violent complexity; its take on modern male culture—that might have made it a box office success. “Fight Club” has become part of the cultural vernacular but at the time, to use a Linson phrase, it didn’t keep anyone’s swimming pool heated.
Think of that. The thing that’s dismissed out of hand by the people in power is the thing that means something, the thing that lasts. This dichotomy is indicative of Hollywood but not limited to Hollywood.
Bring me the beard of Alec Baldwin
Linson’s memoir gives you all of this; it’s blunt and funny. The movie, which he wrote, soft-pedals and fictionalizes things. It follows the rules of “Fight Club” by not talking about “Fight Club.”
Instead, we get “Fiercely,” an idiotic-looking (and idiotically titled) action-adventure movie starring Sean Penn; and instead of the stunned horror of Fox execs at the “Fight Club” screening, we get dull art/commerce arguments:
- The rebellious director Jeremy Brunell (Michael Wincott) wants to kill his hero in the end—and his little dog, too.
- Preview audiences freak when the dog is shot.
- The studio head (Catherine Keener) makes Brunell change the ending for the Cannes Film Festival so the dog lives.
- Brunell screens the dead-dog version anyway.
- Our hero, Ben (Robert De Niro), the movie’s producer, becomes persona non grata at the studio as a result.
Worse, I actually liked the ending where the dog lives. It’s bittersweet; it resonates. Brunell’s “artistic” ending simply piles on misery. I’ve said it before: Just because studios and test audiences want the happy ending doesn’t mean the grim ending is any good. It’s probably equally reductive.
Oh, the movie screws up the story of Alec Baldwin’s beard, too.
In the mid-1990s, Baldwin, still a leading man, agreed to make a movie called “Bookworm” (eventually: “The Edge”), written by David Mamet, but he showed up to the reading wearing a heavy beard. He was supposed to be the young rival to an older patriarch, played by Anthony Hopkins, but Baldwin looked as old as Hopkins. They needed him to shave, but he refused: temper tantrums, curses, overturning tables, etc. He kept claiming artistic integrity. Finally, days before shooting begins, he shaves. Afterwards, Linson asks an actor friend why Baldwin was so committed to the beard and the friend responds, “Alec probably thought he was a little too heavy and he didn’t like the way his chin looked.”
And in the movie? It’s Bruce Willis rather than Baldwin; and after much ado, including asinine behavior at a funeral, everyone gathers around Bruce’s trailer on the first day of filming to see if he’s shaved. When the door opens, he appears in the doorframe in profile—still bearded. Do you see it coming? A mile away? I did. Bruce turns and the other half of his face is shaved. Then he makes a joke and everyone on screen laughs. They’re friends again!
In the book we got the small, vain, but very human reason inside all that hifalutin artistic/commercial turmoil. In the movie we got ... Got me.
You can’t handle the truth
Linson and director Barry Levinson also add a love story to the movie: Who’s Been Sleeping with My Beautiful Ex-Wife (Robin Wright)? Like we give a fuck.
The book is about how difficult it is to get movies made, and how difficult it is for any movie made to make money. More, it’s about all the forces that prevent Hollywood movies from being good or true. The movie proves the book's point.