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David Shayne (John Cusack, in performance his character that of a young Woody Allen) is an idealistic young playwright whose life (and play) is about to be turned upside down as it heads toward Broadway. In order to gain financing for GOD OF OUR FATHERS, Shayne agrees to hire Olive Neal (a wonderfully high-squeaking Jennifer Tilly), the actress/girlfriend of Nick Valenti, a potential backer--who also happens to be a gangster. Unfortunately, the lass proves to be not only talent-free but ditzy to boot, a hindrance since she is supposed to play a psychiatrist. But Cheech, Olive's hoodlum bodyguard, proves to be more intuitive artistically than anyone would suspect, as his contributions improve not only Olive's performance but the quality of the flailing play as well. Meanwhile, Shayne must contend with an odd assortment of actors, including the neurotic Eden Brent, with her omnipresent, yapping dog; the pompous Warner Purcell, a corset-wearing overeater; and haughty leading lady Helen Sinclair (a fabulous Dianne Wiest), the aging, boozing diva with whom Shayne begins a romance. The laughs keep coming like rapid machine-gun fire in this riotous Woody Allen farce. |
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This is the final part of what might be called Woody Allen's “nostalgia” trilogy. Coming after his paeans to the movies (The Purple Rose of Cairo) and radio (Radio Days), it celebrates the heyday of New York's theatreland. As with the two earlier films, Allen remains behind the camera, giving his typically excellent ensemble cast its chance to shine in the spotlight. John Cusack and Jennifer Tilly snatch at this glorious opportunity with a shade too much enthusiasm. As the earnest playwright making his Broadway debut, Cusack is in the unenviable position of playing a role a younger Allen would almost certainly have taken himself, and he rather fumbles some classic Woodyisms. Tilly similarly fails to emerge from the shadow of Judy Holliday's Oscar-winning role in Born Yesterday despite adopting Holiday's nails-on-slate accent to play yet another mobster's moll forced to embrace culture. However, one of Allen's great strengths is his ability to create memorable minor characters and Bullets boasts two of his best in Cheech, the gangster with a poet's soul, and Helen Sinclair, an amorous, alcoholic actress. Dianne Wiest thoroughly deserved her best supporting actress Oscar for her performance as Sinclair, but Chazz Palminteri's Cheech is, perhaps, even more remarkable, and he was decidedly unlucky to come up against Martin Landau's sensational and, in the end, Oscar-winning turn as Bela Lugosi in Ed Wood. Providing teasing insights into how Allen views his own body of work, this is essentially a debate about whether the artist's duty is to retain his own integrity or pander to popular taste. It's also darn good entertainment.
Halliwell's Film Guide
Witty and entertaining backstage comedy on the theme of artistic integrity, performed and directed in a sprightly manner.
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