Notes

Old Dogs Daddy or Deal

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Josef von Sternberg and Marlene Dietrich, John Ford and John Wayne, Jean-Luc Godard and Anna Karina, Martin Scorsese and Robert De Niro - this series of famous director-actor pairings could go on for a long time. In the course of film history, filmmakers and actors have found each other again and again, who complement each other perfectly and who have shot some of their most impressive works together. Now it seems to be time to add another couple to this illustrious list: Walt Becker and John Travolta. There is no question that two looked for and found each other. Only it might have been better for cinema and everyone who loves it if their first collaboration, Born To Be Wild, hadn't had such a great success. But Becker and Travolta didn’t just leave it with “Wild Hogs 2: Bachelor Ride”, the obligatory sequel currently announced for 2011, but instead shot the incredibly silly and mindless family comedy “Old Dogs - Daddy or Deal” beforehand . There is no arguing about humor, like taste, it is a purely personal matter. Nevertheless, there is hardly any doubt that no one older than eight years will be able to laugh at the embarrassingly childish gags of this comedy disaster.



The jovial, life-enjoying whisker Charlie (John Travolta, The Narrow Grat, The Abduction of the U-Bahn Pelham 1 2 3) and the slightly neurotic perfectionist Dan (Robin Williams, Insomnia, One Hour Photo) have been the best since their school days together Friends. They complement each other perfectly, both professionally and privately, and now they are on the verge of the culmination of their lifework. Their joint company, which specializes in the marketing of sports rights, has aroused the interest of a large Japanese corporation. But just as the negotiations with the Japanese get into the hot phase, surprising news throws Dan off course. Seven years ago he lost control on a trip to Miami and married a woman named Vicki (Kelly Preston, Jerry Maguire, From Dusk Till Dawn) head over heels and then had the marriage annulled again. Now she suddenly appears again and announces that he is the father of twins. Since Vicki has to go to prison for two weeks, Dan, who never knew what to do with children, reluctantly agrees to take on the role of father for this time ...



John Travolta took the project as an opportunity to bring large parts of his family with him. His wife Kelly Preston plays the woman who drove Dan crazy more than once, and their daughter Ella Bleu Travolta makes her movie debut as Vickis and Dan's daughter Emily. Everyone knows that nepotism is the order of the day in Hollywood. But the impertinence with which a star turns a production into his family affair is a bit surprising. The fact that Travolta himself plays the declared bachelor and leaves Robin Williams with his wife and daughter is in the end the most ironic joke of the film - even if this constellation is more due to his screen image.



Otherwise, Walt Becker's plea for the statistically perfect small family, which is more important than anything else, but has nothing to offer in terms of irony. Humorous finesse and comedic ambiguity are admittedly not necessarily the business of an audience whose average age is barely above that of Dan's twins. Children have more fun with brutal slapstick numbers and giant apes that turn an adult into their baby. But even an understandably target group-oriented dramaturgy does not have to degenerate into such an infantile totalitarianism. The number of the golf ball that lands in the soft tissues of the other players instead of in the hole doesn't get any more amusing by repeating it three or four times. And so it is with all the gags of this film. Not only are they terribly trite, but they're staged with no sense of timing or wit.



Unlike Seth Green ("Buffy the Vampire Slayer", series, The Wild Seventies), John Travolta and Robin Williams do not fall into the clutches of a gorilla, but they have to monkey themselves time and time again. Of course, it's always especially fun for children when adults are humiliated and ridiculed in one form or another. Still, it is almost a tragedy to watch these two Hollywood icons of the 80s and 90s stumble from one embarrassment to the next. In principle, all of this seems to correspond exactly to John Travolta's understanding of humor and situational comedy, at least his artistic partnership allows for thatJosef von Sternberg and Marlene Dietrich, John Ford and John Wayne, Jean-Luc Godard and Anna Karina, Martin Scorsese and Robert De Niro - this series of famous director-actor pairings could go on for a long time. In the course of film history, filmmakers and actors have found each other again and again, who complement each other perfectly and who have shot some of their most impressive works together. Now it seems to be time to add another couple to this illustrious list: Walt Becker and John Travolta. There is no question that two looked for and found each other. Only it might have been better for cinema and everyone who loves it if their first collaboration, Born To Be Wild, hadn't had such a great success. But Becker and Travolta didn’t just leave it with “Wild Hogs 2: Bachelor Ride”, the obligatory sequel currently announced for 2011, but instead shot the incredibly silly and mindless family comedy “Old Dogs - Daddy or Deal” beforehand . There is no arguing about humor, like taste, it is a purely personal matter. Nevertheless, there is hardly any doubt that no one older than eight years will be able to laugh at the embarrassingly childish gags of this comedy disaster.



The jovial, life-enjoying whisker Charlie (John Travolta, The Narrow Grat, The Abduction of the U-Bahn Pelham 1 2 3) and the slightly neurotic perfectionist Dan (Robin Williams, Insomnia, One Hour Photo) have been the best since their school days together Friends. They complement each other perfectly, both professionally and privately, and now they are on the verge of the culmination of their lifework. Their joint company, which specializes in the marketing of sports rights, has aroused the interest of a large Japanese corporation. But just as the negotiations with the Japanese get into the hot phase, surprising news throws Dan off course. Seven years ago he lost control on a trip to Miami and married a woman named Vicki (Kelly Preston, Jerry Maguire, From Dusk Till Dawn) head over heels and then had the marriage annulled again. Now she suddenly appears again and announces that he is the father of twins. Since Vicki has to go to prison for two weeks, Dan, who never knew what to do with children, reluctantly agrees to take on the role of father for this time ...



John Travolta took the project as an opportunity to bring large parts of his family with him. His wife Kelly Preston plays the woman who drove Dan crazy more than once, and their daughter Ella Bleu Travolta makes her movie debut as Vickis and Dan's daughter Emily. Everyone knows that nepotism is the order of the day in Hollywood. But the impertinence with which a star turns a production into his family affair is a bit surprising. The fact that Travolta himself plays the declared bachelor and leaves Robin Williams with his wife and daughter is in the end the most ironic joke of the film - even if this constellation is more due to his screen image.



<img width="428" src="http://de.web.img3.acsta.net/pictures/21/02/03/10/10/4997446.jpg" />

Otherwise, Walt Becker's plea for the statistically perfect small family, which is more important than anything else, but has nothing to offer in terms of irony. Humorous finesse and comedic ambiguity are admittedly not necessarily the business of an audience whose average age is barely above that of Dan's twins. Children have more fun with brutal slapstick numbers and giant apes that turn an adult into their baby. But even an understandably target group-oriented dramaturgy does not have to degenerate into such an infantile totalitarianism. The number of the golf ball that lands in the soft tissues of the other players instead of in the hole doesn't get any more amusing by repeating it three or four times. And so it is with all the gags of this film. Not only are they terribly trite, but they're staged with no sense of timing or wit.



Unlike Seth Green (&quot;Buffy the Vampire Slayer&quot;, series, The Wild Seventies), John Travolta and Robin Williams do not fall into the clutches of a gorilla, but they have to monkey themselves time and time again. Of course, it's always especially fun for children when adults are humiliated and ridiculed in one form or another. Still, it is almost a tragedy to watch these two Hollywood icons of the 80s and 90s stumble from one embarrassment to the next. In principle, all of this seems to correspond exactly to John Travolta's understanding of humor and situational comedy, at least his artistic partnership allows for that


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