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- <text id=93TT0572>
- <title>
- Nov. 29, 1993: The Arts & Media:Cinema
- </title>
- <history>
- TIME--The Weekly Newsmagazine--1993
- Nov. 29, 1993 Is Freud Dead?
- </history>
- <article>
- <source>Time Magazine</source>
- <hdr>
- THE ARTS & MEDIA, Page 74
- Cinema
- Looking For Mr. Goodfather
- </hdr>
- <body>
- <p>A painfully correct comedy and a cheerfully subversive one celebrate
- family values
- </p>
- <p>By Richard Schickel
- </p>
- <p> It's one of those days for Daniel Hillard (Robin Williams).
- First he gets fired from his job, then he gets fired from his
- marriage, pretty much for the same reason: the man has a passion,
- verging on the unreasonable, for protecting and nurturing children,
- and it makes more sensible people crazy.
- </p>
- <p> His job is to supply the voices for a Sylvester-and-Tweety type
- of animated cartoon; he loses it when the villainous cat forces
- the victimized bird to inhale a cigarette and Daniel insists
- on improvising antismoking dialogue for the sequence, so that
- kids in the audience clearly understand the full horror of the
- noxious weed. Daniel goes on to lose his marriage when he arranges
- to bring an entire petting zoo into his house as a birthday-party
- treat for one of his three children. The resulting mess is the
- last straw for his wife Miranda (Sally Field, expertly walking
- the line between long-suffering exasperation and ineluctable
- affection).
- </p>
- <p> A divorce court, naturally, does not look kindly upon unemployed
- flakes; it refuses Daniel's plea for joint custody and places
- limits on his visitation rights that are unbearable to the best
- daddy in Christendom. The world does not look kindly on working
- moms, and Miranda cannot find a suitable nanny to tend the kids
- while she pursues her high-powered career in interior design.
- Thus, out of mutual need, but without Miranda's conscious participation,
- Mrs. Doubtfire--that is to say, Daniel in old-lady drag and
- affecting a Scots accent--is born. In this role, Daniel not
- only brings order to a fractured household; he also brings a
- new orderliness to his own life.
- </p>
- <p> Improbable? Of course. All cross-dressing comedies, from Charley's
- Aunt onward, are improbable. Most of the fun comes from seeing
- people fooled by what seems to us, who are in on the joke, a
- completely penetrable ruse. Curiously enough, what's really
- unpersuasive about Mrs. Doubtfire--not to say draggy--is
- its nondrag sequences. The children are goody-goodies, without
- mischief or quirks, and their father's relationship with them
- is unclouded by even minor impatience, let alone major outrage.
- The script, by Randi Mayem Singer and Leslie Dixon, presents
- ideal fatherhood as a form of saintliness.
- </p>
- <p> More immediately, they and director Chris Columbus had to contend
- with their star's newfound desire (see last year's Toys) to
- play the holy fool. Williams' head contains a multitude of characters--some of them real, some of them American archetypes--and
- as a vocal quick-change artist, Williams has a unique gift not
- only for dead-on impersonations of these characters, but also
- for setting them all free on a babbling stream of consciousness.
- These manic monologues are impolite and utterly incorrect politically.
- They articulate our secret, subversive thoughts. His impersonation
- of Mrs. Doubtfire shows that he can sustain one of these inventions
- quite wonderfully. But she's chucklesome, heartwarming, and
- without a subversive bone under her foam-padded bodysuit. And
- Daniel Hillard, of whom we see entirely too much, is winsome,
- childlike, too good for this world, the kind of wimped-out modern
- male Williams ought to be satirizing, not celebrating.
- </p>
- <p> As it happens, Morticia and Gomez Addams (Anjelica Huston and
- Raul Julia) are also in need of a nanny as Addams Family Values
- opens, since they are expecting Pubert--who is born mustachioed.
- It would have been salutary if Mrs. Doubtfire had been given
- the job, for it would have been a true test of her mettle. But
- the job goes to one Debbie Jellinsky (Joan Cusack), who sets
- about seducing Uncle Fester (Christopher Lloyd) in what proves
- to be one of the movie's less profitable conceits. Like the
- first of the Addams chronicles, this is an essentially lazy
- movie, too often settling for easy gags and special effects
- that don't come to any really funny point.
- </p>
- <p> But as both its director (Barry Sonnenfeld) and its writer (Paul
- Rudnick) have been at pains to point out, the Addamses are a
- truly functioning, happily extended family, impervious to the
- discontents of middle-class civilization. Mom and Dad are passionately
- in love with each other, beamily indulgent of their children
- and entirely happy in their chosen life-style. "Is the pain
- unbearable?" Gomez inquires hopefully as Morticia is wheeled
- into the delivery room, and her enraptured smile is all the
- answer he requires.
- </p>
- <p> They are, as well, ferocious defenders of their individuality.
- In the movie's most carefully pointed passage, the older children,
- Pugsley and Wednesday (Jimmy Workman and the divinely evil Christina
- Ricci), are shipped off to summer camp, where their resistance
- to huggy communitarianism and conventional good cheer is exemplary.
- They can't be brainwashed, even when they are locked into a
- cabin with tapes of The Sound of Music and other uplifting material.
- Dragooned into the camp pageant, they organize the other misfits
- and contrive to burn their blond, blue-eyed chief tormentor
- at the stake. Bless their twisted souls: they could teach Robin
- Williams a useful thing or two about what it really means to
- be "childlike."
- </p>
-
- </body>
- </article>
- </text>
-
-