“˜Wonder Boys’ an overlooked gem

  David Holmberg If Holmberg writes a
column in a widely distributed newspaper, and no one reads it, did
he ever write it? For the answer to this and other filmosophical
questions, e-mail [email protected].

If “Wonder Boys” arrived at theaters, and no one was
around to see it, would it still be a fantastic film?

Just as the lonely tree falling in the forest does indeed make a
sound, so can a film be a marvelous piece of art whether or not
people have seen.

Unfortunately, the arrival of “Wonder Boys” to deaf
ears earned it only a handful of critical praise, and utter
dismissal by the Academy Awards.

Released in February of 2000, the film grossed only $18 million
domestically, which means, according to industry standards, it is
little more than a box office “disappointment.”

Somehow, film executives frequently translate monetary failure
into lack of quality. It is not hard to disprove this fallacy, with
drivel such as box office smashes “Armageddon” and
“Star Wars: Episode I” serving as prime examples that
film audiences often make popular movies that should otherwise go
straight to video.

On the opposite end are overlooked yet remarkable films such as
“Fight Club” and “Quills” that will be
lucky to barely break even.

This disparity between quality and revenues is understandable
and even acceptable given the nature of the film business. In a
unique industry that crams art and money into a single venture,
sacrifices will and must be made.

Some films, like “Armageddon,” are marketed as
thrill ride popcorn flicks, while films such as
“Quills” are acknowledged as art pictures, and thus
their fates are sealed as to how much money they will inevitably
make.

This would all be well and good except that the lines are
rapidly blurring. It would seem that a major factor in winning an
Academy Award these days is making serious cash, and having a
quality film is now a secondary bonus, but not a necessity.

Out of the top 20 Academy Award categories, only five films that
did not gross over $100 million walked away with Oscars. Even more
startling is that within the top six categories, including Best
Picture, Director, Actor/Actress and Supporting Actor/Actress, only
one person won from a film that has not already surpassed that
magic $100 million mark.

If “Gladiator” had not been a breakout success, and
already grossed $186 million, it is doubtful whether it would have
even been nominated.

With all of this industry bureaucracy in mind, it is not hard to
figure why a truly wonderful film could be lost in the muck. So it
is time to rescue it from the heap, dust it off, and take another
look at possibly the best film of the year 2000.

“Wonder Boys” opens with Bob Dylan’s Oscar
winning song, “Things Have Changed,” setting the tone
for the entire film. In many ways, “Wonder Boys” is a
Dylan song incarnate, generating a deep momentum and insight that
hits like a freight train and is not ashamed to do so. Dylan sings
about a man who is losing his life in the confusion of the world,
but he is pushing on ahead just the same.

The song transforms into film reality as Michael Douglas, in
easily his most compelling performance to date, is introduced as
Grady Tripp, a college professor who is about to witness his life
rapidly derail.

Problems begin to quickly accumulate, starting with his
wife’s departure, and ranging beyond the pregnancy of his
married girlfriend to the murder of her husband’s dog. On top
of the heap is his incomplete epic novel, a follow up to his last,
and only, praised novel.

Thrown in to complicate things are a multitude of characters
that lull the audience into a completely engaging and believable
world. Tobey Maguire is James Leer, Tripp’s most talented,
but reclusive, student, who is a catalyst for many of the unique
episodes. Tripp’s hounding editor Terry Crabtree (Robert
Downey, Jr.) gives another in a long line of outstanding comic
performances.

Frances McDormand and Katie Holms fleet in and out of
Tripp’s life, adding drama and complications.

The film is a masterpiece of understatement. The story is on the
verge of becoming outrageous, which would have decimated everything
it tries to achieve. But instead, and largely due to Douglas’
flawlessly low-key attitude, the potentially hilarious situations
are merely accepted and dealt with.

This consent to the out-of-control events generates an energy
that electrifies every scene with a warming glow.

The power of “Wonder Boys” lies in the dramatic but
subtle transformation of all the characters. Each has come to
radically new understandings of their own personal worlds when all
is through, but still, none have lost their fundamental
essence.

While being snubbed for even nominations in any major Academy
Award’s category, the film does possess one recognized jewel:
Dylan’s song.

The song is the musical embodiment of the spirit of the film,
and, conversely, the movie is the song conveyed through the film
projector. One seemingly cannot exist without the other, and so a
small triumph was achieved via Dylan’s win.

Can a financially disappointing film released more than a year
before the final Academy Award’s ceremony win any big awards?
While the answer clearly seems to be “no,” it is
important to realize that this is ultimately irrelevant in
determining if the film is a worthy piece of art.

“Wonder Boys” playing in your home will definitely
leave a memorable impression.