It's not a secret that Hollywood loves Hollywood. We've seen it thousands of times over. Sunset Boulevard, La La Land, The Artist, All About Eve. One only needs to dip a toe into the films of any given era to get deluged by screenwriters and actors writing and acting about writing and acting. I guess it goes with the age-old advice of "write what you know." First, a little bit about each film, and then I'll try and tie them all together.
America's Sweethearts (2001) dir. Joe Roth, co-written by Billy Crystal and Peter Tolan. Cast includes: John Cusack, Catherine Zeta-Jones, Julia Roberts, Billy Crystal, Stanley Tucci, Hank Azaria, Alan Arkin, and Christopher Walken. The basic premise is the comedy/drama surrounding a press junket for a film starring an estranged married couple who made a living out of churning out rom-coms. It moves quickly and quippy. It's not high art but it's also not "just" a rom-com. The commentary on the vapidity of Hollywood is there--the self-importance of the press, the celebrity bubble, the reclusive auteur filmmaker. Every actor delivers their lines perfectly. It successfully spoofs many rom-com tropes, sometimes in rapid succession. This is a go-to choice for me when I need something light and funny.
The Muse (1999) dir. Albert Brooks, co-written by Albert Brooks and Monica Mcgowan Johnson. Cast includes: Albert Brooks, Andie MacDowell, Sharon Stone. This was a new one to me but I've been an Albert Brooks fan for some time. The premise of "working with a Muse" was bizarre and twisty with much to say about the flightiness of Hollywood, the real difficulties of writer's block, and gender role expectations within a marriage. Overall I found it entertaining and quirky. Who doesn't love a manic pixie dream -woman- portrayed here by Sharon Stone. I adored the cameos from famous directors Marty Scorcese, James Cameron, and most delightfully, Rob Reiner. This film approaches Hollywood from the angle of the screenwriter rather than the actors and producers, with Brooks' character constantly reminding the people around him that he has to sell scripts to pay the bills! As fantastical as the premise was, it was definitely grounded in his lived experience (coping with being past his prime) which was an interesting lens.
For Your Consideration (2006) dir. Christopher Guest, co-written by Christopher Guest and Eugene Levy. Cast includes Catherine O'Hara, Parker Posey, Harry Shearer, Ed Begley Jr., Jennifer Coolidge, Christopher Guest and Eugene Levy, along with so many fun bit parts from their posse of improv geniuses. Here we have a classic Christopher Guest ensemble comedy with some new elements. A film-within-a-film lends itself to more traditional filming techniques, a studio trying to wrest creative control from the writers, spoofs of Hollywood gossip TV talk shows, snippets of interviews (rather than relying on the mocumentary "all-interview" approach), and actors of all stripes trying to put on a meaningful performance (and, as a result, garner award season buzz) despite the slightly ludicrous premise of the film-in-film Home for Purim (WWII drama about a terminally-ill Jewish matriarch celebrating her favorite holiday). The very first scene struck me particularly hard since we just lost Catherine O'Hara. Watching her lip sync to a Bette Davis scene felt entirely "her" and not in character whatsoever. She was such a talented actor with insane range. This film felt like a great vehicle for showcasing that aspect of her--a real, working actor.
Something I love about all three movies is the ability to weave in so many throw-away jokes and ideas that could never stand as a plot on their own, but do well in the madcap worlds their writers create. America's Sweethearts does a grade-A send-up of the more ludicrous aspects of opportunistic "wellness retreats." The Muse finds Brooks pitching a hypothetical aquarium-themed comedy starring Jim Carrey that cracked me up but wouldn't be something I rushed to the theaters for. Guest/Levy let us in on the Madlib-esque social dynamics of an estranged daughter bringing home her girlfriend for a minor Jewish holiday. All of these writers have a handle on how to take a joke--especially a stupid one--just far enough without losing you. I appreciate the windows into the filmmaking process, even more so because it has been distorted--turned into a caricature of itself. Even the most odious character types are somehow lovable. Clearly, it's not just Hollywood that loves Hollywood, but me too.
