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All-Reviews.com Movie/Video Review
The Majestic
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  out of 4
 Review by Harvey Karten No Rating Supplied
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Who says that small-town people are uptight, ultra-
conservative Bible thumpers, contemptuous of the Bill of Rights
and committed only to their insular values and constipated
gentility? Frank Capra never believed that when he propelled
Columbia into a major-league studio with his films about idealistic
individuals, improbable heroes battling cynicism in works like "It
Happened One Night," "Mr Deeds Goes to Town," "You Can't
Take It with You,' and "Mr. Smith Goes to Washington." Neither
does Frank Darabont who with "The Majestic" takes us back to
the America that could be found not that far from Los Angeles in
the 1950's, a story by Michael Sloane filmed in the northern
reaches of California. If Darabont's Norman-Rockwell characters
have traces of cynicism--which well they might have since in the
town of Lawson, CA in 1951 (actually filmed in Ferndale,
Mendocino and Ft. Bragg)--the pessimism is justified since the
village community had lost sixty-six of its young men in World
War II. One of the men, Luke Trimble, had been missing and
considered dead, only to turn up presumably, alive and well if
with a bad case of amnesia, nine and one-half years after his
reported demise.
"The Majestic" is a retro story made even more retreated in
time than others of the genre such as "The Truman Show" and
"Kate and Leopold" because there is no sci-fi element present:
no time machine, no window over the Brooklyn Bridge through
which a person could travel back through the decades. Yet in
some ways there are themes that could have been torn from the
front pages of today's newspapers, as we look at President
Bush's moves to restrict civil liberties and require suspected
terrorists to be tried by military courts-martial instead of civilian
juries. The fear of domestic Communism parallels our own dread
of potential terrorists in our mist who plot (in the imagination of
some) the destruction of buildings, the poisoning of our
reservoirs, and the release of biological and chemical weapons
throughout the land.
In one of the story's few flat-out humorous sequences a group
of producers are sitting around brainstorming a new movie (Matt
Damon, Rob Reiner and Carl Reiner behind the camera) while
Peter Appleton, who has just seen the release of his first film, sits
in contemplation. The tale switches from farce to melodrama in a
flash as Pete is accused by the House Unamerican Activities
Committee of being or having been a member of the Communist
Party USA (he actually did nothing more than attend a meeting of
a local cell with his girl friend, eager to impress the young woman
who pictured herself as the working person's friend). Blacklisted
in Hollywood in much the way that "The Hollywood Ten" such as
Dalton Trumbo were in real life, he gets drunk and accidentally
drives his car over a local bridge, hitting his head and becoming
afflicted with amnesia. Nursed to health by Lawson's doctor
(David Ogden Stiers), he is mistaken for missing soldier Luke
Trimble, is introduced to "his" former girl friend, Adele Stanton
(Laurie Holden), and welcome to the home of "his" father, Harry
Trimble (Martin Landau). What follows in this comedy of errors
gives Peter the chance unwittingly to choose a new life, a fresh
start, free from the tentacles of a Big Government which had
become as rabidly anti-Communist as we today are wary of
Mideast villains. Of course it's only a matter of time before the
government agents catch up with him and confront him with yet
another choice: squeal on your friends in the Communist Party
(though he was never a Communist and thereby had no friends
in the Party), or face the loss of a career and possibly jail for
contempt.
Will he shuck off his former life of big-city cynicism and
materialistic movie studios with their dumb ideas for making big
box office? Or upon recovering his memory will he return to his
career as a budding screenwriter, selling out to the misguided
and ambitious members of a right-wing congressional committee
and to the big Hollywood studios?
Those who will point thumbs down on "The Majestic" will be
dismayed by its cornball, Capra-esque qualities, calling it nothing
more than a Christmas holiday movie to bring us good cheer by
dredging up dated dramatic material. But say what you want
about the sin of sentimentality in stories: this one works. It works
because we're inundated during the holiday season with airy and
meaningless comedies like "Joe Somebody" and the usual
explosive blockbusters like "Black Hawk Down." There's just
enough anachronistic dialogue tossed into this hokey plot to give
a present-day audience some contemporary grins and best of all
Jim Carrey has proved himself to have the depth to play a wholly
serious character standing up to the authorities as would Jimmy
Stewart in "Mr. Smith Goes to Washington" or as would Gregory
Peck to the racists in "To Kill a Mockingbird." Carrey is
surrounded by a fine ensemble including James Whitmore as an
aging, good-hearted citizen who brings the young screenwriter
into the town, Martin Landau as the forlorn father whose life turns
around when he believes he has found his son, and Laurie
Holden, who resembles a young Kathleen Turner and romances
the confused would-be Communist so well that you just know
what choices the man will make.
Copyright © 2001 Harvey Karten
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