Robert Cole, a film editor, is constantly breaking up with and reconciling with long-suffering girl friend Mary Harvard, who works at a bank. He is irrationally jealous and self-centered, while Mary has been too willing to let him get away with his disruptive antics. Can they learn to live with each other? Can they learn to live without each other? The movie also provides insight into film editing as Robert and co-worker Jay work on their current project, a cheesy sci-fi movie. —IMDb
Albert Brooks (born July 22, 1947) is an American actor, voice actor, writer, comedian and director. He received an Academy Award nomination in 1987 for his role in Broadcast News.
Brooks attended Carnegie Tech in Pittsburgh, but dropped out after one year to focus on his comedy career. He changed his surname from Einstein (to avoid confusion with the famous physicist) and began a stand-up comedy career that quickly made him a regular on variety and talk shows during the late 1960s and early 1970s. Brooks led a new generation of self-reflective baby-boomer comics appearing on NBC’s The Tonight Show starring Johnny Carson. His onstage persona, that of an egotistical, narcissistic, nervous comic, an ironic showbiz insider who punctured himself before an audience by disassembling his mastery of comedic stagecraft, influenced other ’70s post-modern comedians, including Steve Martin, Martin Mull and Andy Kaufman.
After two successful comedy albums, Comedy Minus One (1974) and… read more
I just wish Mary had been more active/less of a cliche or Robert's psychosis had been more obvious to everyone else. I feel like the tone should have been more biting/satirical. However, the commentary on filmmaking was on point. "You might be right, but do it the other way."
The charm and sting of Brooks' second film lie in the queasy-making prescience of its dated mod cons -- "look how many friends I've got!" exclaims our quaalude-addled film editor hunched over his Rolodex. For him the real world is, or ought to be, as manipulable and perfectible as the throwaway films he gets paid so much to cut up and reconstitute. With Mary, banker and recurring beloved, Cole realizes and dissolves the double, never final fantasy of eternal love as it intersects with finance and cinema, twin technologies of the atomized self.
In the Margin is a new column where Ignatiy Vishnevetsky tries to make sense of the what's going on with cinema this week. *** It used to
An immaculate realization of clichés, a multi-billion-dollar lawsuit transmuted into a low-stakes male weepie, a bunch of college-movie