Hollywood’s Hip Cynicism
By Ray Sawhill
Robert Altman plays with the elements of film-making the way jazz musicians play with tunes and changes, the way painters like Jasper Johns and Jim Dine play with pop iconography. He destabilizes the elements he works with, opening them and making them part of larger processes, part of a flow. He works with what you’re not used to admitting to consciousness, what you normally tune out: objects and actions at the edges of your vision, overheard sounds, half-formed thoughts, hazy memories.
Altman’s one-time assistant Alan Rudolph recalls that Altman used to say to him, “Nobody makes the films they want to make, they make the films they’re able to make.” Altman’s film-making suggests an ethos of taking your clue from what life presents to you. “I don’t go in and say, Let’s see how we can do it differently,” says Altman. “It’s more like, I don’t want to do that, because I’ve seen that. And also, it never rings true to me. It’s more starting at the inside of these projects and building them from the inside out. I’m always surprised myself by what the exterior, the total package, looks like.”
His 1992 film, “The Player,” is another easygoing goof on an institution. In his 1971 “M*A*S*H” it was the Army; in his 1975 “Nashville” it was politics and the country-music industry. Here, it’s Hollywood. The picture is naughty, and it has dazzle and audacity. But “The Player” doesn’t have the all-devouring quality of Altman’s early 1970s work, or the intensity and concentration — of bitterness, exile, rancor, and obsessiveness — of some of the work he made in the 1980s after leaving Hollywood. “The Player” may remind us of the great Altman films, but it isn’t really great: it’s movie-making as sunny-spirited recreation. Is there a danger Robert Altman will become a benevolent, lovable sweetie? Altman’s relationship with his subject isn’t the antagonistic one you’d expect, given his history with Hollywood. He doesn’t seem to have a serious quarrel with the film industry anymore. It’s like a formerly married couple spending an evening together: maybe they wrangle and feel some of the old heat, but in the end they back off. They’ve learned they can live and let die.
In “The Player,” which is taken from a Michael Tolkin novel that’s essentially a writer’s hate letter to the movie business, the central character is the once-thought-to-be-rising studio executive Griffin Mill (Tim Robbins). He feels his career is riding on every decision. He’s freaked out and paranoid; Altman and Tolkin suggest that this is the normal emotional state of Hollywood people on the make. Griffin is having trouble being a player. Something’s holding him back and torpedoing his prospects. His girlfriend, Bonnie, who is a story editor at the studio where he works and who is his ally in his job wars, doesn’t excite him. At the office, he’s picking up bad vibes — it’s rumored that another young hotshot is being brought in and will rank above him. He’s also receiving threatening, homicidal postcards from an anonymous writer whom he has evidently snubbed. Griffin is a brat, but a brat in torment; the postcards bring together the lousy feelings he has about his life. So when he thinks he has figured out who the writer is, he tries to placate his suspect by offering him a deal. But this writer isn’t grateful, and Griffin’s rage gets the better of him. As Altman presents the movie, it’s a joke on the idea of the “up” Hollywood ending: Griffin learns (you always have to learn something in a Hollywood film) to live with being a murderer, and this releases him from his torment.
Altman opens “The Player” with a bang — a virtuoso shot that begins with an image of a clapper coming down in front of a mural depicting early film-making. During this shot’s eight minutes, what we see and hear includes a discussion of the virtues of fast cutting vs. continuous, unbroken shots; a chat about the famous opening shot in “Touch of Evil”; two different close-ups of a postcard; several cases of mistaken identity; a variety of activities seen through windows; a group of Japanese visitors on a studio tour; and three or four movie “pitches.” This shot sets the stage for a film that could be said to be about the manipulation of images, and frames within frames.
Altman moves in tight for Griffin’s drama, and then backs off and takes in the moviemaking world, a cuckoo-land where lives, careers, and projects exist in a state of perpetual, dangling uncertainty. The movie is filled with “real” celebrities — actual performers and film-makers playing themselves. You’re kept (enjoyably) uncertain about which performers are appearing as themselves and which you’re being asked to accept as fictional characters. We can take this as a visualization of Griffin’s paranoia, as well as of how much of life in the movie world consists of stargazing — in Hollywood, you’re always on the lookout. A producer (Carolyn Pfeiffer) who attended the first screening of “The Player” says that afterward, when the lights came up, it was as though the movie had spilled out into the auditorium — the audience was full of film business types, and some of them had been up on the screen.
It’s usually a gag when Altman moves in tight on Griffin again. We laugh at this spoiled boy’s fears and humiliations, and at his “dignity.” When Malcolm McDowell (playing himself) spots Griffin at a hotel and needles him, Griffin is shaken; for a second he looks as if he might burst into tears. When the Pasadena police grill him about the writer’s death, they unnerve him with their small talk and their unsmoothed-out eccentricities. (In “The Player,” Pasadena contrasts with Hollywood; it’s where a rep house plays “The Bicycle Thief,” where the “truth” is still an issue, and where Griffin’s power strategies count for nothing at all.)
For Griffin, writers might almost be interchangeable nuisances. When he tries to locate the author of the threatening postcards, he’s willing to settle for the first name that’s plausible. In a sinister, oddly fluid and beautiful scene, he drives up to this fellow’s house and calls him on his cellular car phone; he gets June (Greta Scacchi), a painter who is the writer’s girlfriend. Although he’s calling from right outside her house, Griffin lets her assume he’s at his office. He walks from window to window, looking in on her as they talk; she moves about, playing with her paints and paintings. The camera moves from outside the house with him and his phone and his pretence to inside with her and her reflection — it’s night and the house is lit up from within. June is dressed in flowing white. The interior of the house is white and blue, and it’s full of paints and jars, and hung and stacked paintings. Transparent and patterned shower curtains hang from the ceiling, and photos are taped to the walls and the refrigerator door. Everything is mingling and filmy; the imagery may put you mind of tissues and placentas and pregnancy. This is June’s bell jar, but she isn’t coming apart, she’s happy, moist and glowing — a woman in her own world, “creating.” (Later, after he’s met her, Griffin asks which gallery she sells through; she explains she doesn’t sell because she’s never finished with her work. These images are her feelings, and she’s never done feeling.) They talk and flirt. She explains that her strange last name — Gudmundsdottir — is Icelandic; there’s some banter about Greenland being icy and Iceland being green. Somehow the Red Sea is mentioned.
When he goes off to find the writer, Griffin thinks that what he wants is to make amends. (What we learn in the course of the film is that what he really wants is not to be bothered by his scruples anymore.) David Kahane, the writer Griffin finds, is loud, angry, and shabby — a perpetual grad-student type who is intent on his autobiographical movie idea about a student in Japan. The plot of the “The Player” turns on whether the studio is vulnerable to a Japanese takeover; Griffin and Kahane’s conversation mostly takes place at a Japanese karaoke restaurant/bar, where customers get on stage and, looking into a monitor and singing into a mike, perform to canned music, with a screen above them projecting MTV-like imagery and subtitles (“Why can’t we start over?”). Nearly everything in the film is doubled and tripled in this way. And the question of who owns the image is always being posed.
Kahane guesses that Griffin discovered his whereabouts from June, whom he refers to as “the ice queen.” Griffin doesn’t really flip until Kahane taunts him: Everyone knows Griffin can’t O.K. projects any more, that the new executive is supplanting him. When Griffin is fired, what will become of him? “I can write. What can you do?” yells Kahane. That’s when Griffin’s rage overcomes him; he kills the writer, holding his head in a puddle that reflects red light — the writer dies in a “red sea.”
Part of the reason the executives hate writers is that they depend on them; the writers actually come up with ideas. Altman sets up a writing-related satirical scheme; in this picture, the more you’re attached to writing, the more conscience-stricken and miserable you’re likely to be — and the more full of integrity. The unhappy story editor Bonnie is a “tragic” character; she gets more and more shut out as the movie goes along. Early on, Griffin himself stands up for writers at a meeting where the new hotshot is passing around an issue of the L.A. Times so he can show his finesse at improvising movie subjects from public (i.e., free) sources. Griffin watches the paper with dread; a small front-page headlines announces David Kahane’s death of the night before.
Altman uses a writer/director played by Richard E. Grant for contrast with Kahane. The Grant character broadcasts how uncompromising he is. His idea for a film, he’s quick to point out, requires no stars and an unhappy ending — because that’s how life is. He gets tearful when he tells his downbeat story, he moves himself so. He’s brilliant at using the appearance of daring, integrity, and passion: he’ll do well for himself. By the end of the “The Player,” he has turned his vision into an upbeat Julia Roberts/Bruce Willis vehicle. “The audience wrote this ending,” he exults.
Altman catches a central thing about Hollywood: Griffin, like all the other executives, is always at pains to manipulate “image” to make the most impressive possible statement about himself. The depiction of Hollywood life feels authentic — these people have enormous egos, yet they are wildly insecure; they don’t really have anything that’s theirs. Something is forever eluding them — the idea, the hit, the magic. So it’s always crucial to give the impression you possess the magic — everything becomes a matter of positioning, strategy, and one-upsmanship.
“The Player” shares with Altman’s 1973 “The Long Goodbye” a breezy sense of humor about movie-fed foolishness and a distinctive view of corruption. Altman doesn’t overdo the corruption in either of these films: everything that counts can be bought and sold, yet the environment isn’t ominous. Inside and outside spill into each other, as they do in L.A. Altman’s camera zooms in, zooms back, changing position and focal length, moving from room to room, from inside to outside. This is a visual realization of what happens in your head when you spend time in L.A.: you stop worrying about what’s real and what’s not.
The two films also share a vision of L.A. as a make-believe city bedazzled by the movies. Yet “The Long Goodbye,” for all its sophistication and cynicism, has a little nostalgia for what people tend to think of as the “kind of movies Hollywood doesn’t make anymore” — with the old stars and the old glamour, with the “well-told stories” — essentially, escapist fantasies from the 1930s and 1940s. The Hollywood of “The Player” doesn’t have that depth or beauty, or that quality of fantasy. It doesn’t even seem to bother feeding its own myth. It’s simply a place sharp people exploit. The characters here aren’t square; they’re media-savvy, hip cynics — in this world, everyone’s become a connoisseur of self-reflexiveness. And there’s an extra layer of technology, technology within technology: car phones, faxes, phones in screening rooms. (When Griffin opens up his glove compartment and there’s a fax machine at work and it prints out a replica of a postcard, the Chinese boxes seem endless.) This is an environment where media competition and attention-getting have become the only activities anyone admits to believing in or standing by.
June the painter has no awareness at all of the movie business; it seems to strike her as little more than a glamorous lark. Courting her, Griffin takes her to a resort in Desert Hot Springs favored by film-business people because they’re kept anonymous there. “Do places like this really exist?” she says in delight. “Only in the movies,” he replies. The spas are glowing and blue, but they have been set among boulders and rocks; they have been given “natural”-seeming shapes. Let’s go into the water, June suggests. “You’re not really Icelandic,” guesses Griffin. “Oh, did I say that?” says June.
June’s acceptance of the surface and only the surface might seem like a form of brain damage in Europe; in L.A., it’s the city’s special form of grace. June makes it all up as she goes along; she plays with images. Apart from the cops, she’s the one character in the movie who isn’t in the film world; she’s the only character Altman doesn’t really satirize. (This makes her seem rather indefinite; and Scacchi seems to get only about halfway into the groove.) Many of June’s paintings have words and letters in them, stenciled (it seems), but very painterly, with drizzles and drips. Griffin asks June if she likes words, and she answers, “I like words. I like letters. Sentences I’m not crazy about.” Griffin is entranced; he is sprung loose from what binds him to words.
Griffin is completed by his involvement with June — the film world doesn’t make him crazy anymore. He has shaken free of his feelings of responsibility. He just doesn’t care, and that makes him a winner. He can play on the surface and not be dragged down by his conscience — this is seen, satirically, as a triumph. Getting away with murder becomes the most freeing event in his life.
Altman framed “M*A*S*H” with a p-a system, which was constantly making bungled announcements for old war movies that were going to be shown in a tent somewhere. In “The Player” he frames the action with posters for old crime pictures. They’re gaudy: the titles are amusingly “dramatic,” and the ad copy on them is hype from another era. “M*A*S*H” ends with the p-a system announcing a final movie, which turns out to be the one we’ve just seen. At the end of “The Player,” Griffin is driving home after a day at the office. He receives a call on his car phone and listens to a pitch from the writer who actually wrote him the postcards that filled him with terror; it’s the story of the movie we’ve just seen. The faceless writer could be any one of hundreds of writers who have pitched their movie ideas to Griffin. Is the writer blackmailing him? He might be, but Griffin is intrigued anyway: who cares where a marketable story comes from?
As he steers through the L.A. streets, Griffin is wearing a black suit with charcoal pinstripes. He has traded in his enclosed Range Rover for a black Rolls Royce convertible, and the vivid red leather interior glows in the sun. Griffin is happy and masterful. He drives up to his home and we’re given a shot of big lush red roses; through them we see a pregnant, radiant June welcoming him. The blue and white of the ice queen; the black of the demonic; the red of sexual excitement and fullness — even June’s dress has some red in it in addition to the usual blue and white. Griffin and June hug; male and female merge. This is American wedded bliss, Altman is saying good-naturedly: red, white, and blue against black.
It doesn’t seem to bother Altman much. Is one reason “The Player” doesn’t have a lot of bite that Altman just can’t take seriously the anguish of a vain young studio executive? Tim Robbins has gravity, focus, and a delight in being found silly; he manages to suggest that Griffin would dearly love people to believe that the thoughts he’s keeping to himself are dignified and impressive. And with his height (6’5″) and his huge baby’s head, Robbins is quite a camera subject. But Altman’s Griffin — the center of the film — is thin. The Griffin of the novel has evil in him, and the reader experiences the world as Griffin experiences it. Altman moves the malevolence out into the system generally, where it disperses and becomes a shared craziness.
Altman sees the current Hollywood as nothing but an absurd business based on fleecing people, empty even of the entertaining hucksterism of old. But Hollywood people don’t seem to take the movie as a hate letter to themselves; this satire of Hollywood is embraced by its targets. They can enjoy “The Player” because there’s nothing really adversarial about it. Altman is saying out loud what they all think and feel; his film jibes with their view of themselves. (It’s like the last Buñuel films, which tickled the haute bourgeoisie Buñuel once threatened with murder.) “The Player” doesn’t add up to much more than a very sleekly done roast — an amusing series of inside jokes choreographed around and through the familiar restaurants, offices, and parking lots. Altman isn’t fighting the business people. Now they can accept him as a master.
©1992 by Ray Sawhill. First appeared in Film Quarterly.
Ray Sawhill 