Notes

The last gentleman

In 2003 the directing couple Shari Springer Berman and Robert Pulcini ("The Nanny Diaries") celebrated a worldwide festival and critical success with the terrific biopic "American Splendor", based on Harvey Pekar's autobiographical comic series. But while the eccentric comic-docu-drama concept was grounded there by the protagonist Pekar (Paul Giamatti), the eccentricities in "The Last Gentleman" seem to be an end in themselves. A wonderfully sullen-exalted Kevin Kline ("A fish called Wanda "," The Ice Storm ") as a would-be aristocrat forms an unlikely flat share couple with a wonderfully obdurate Paul Dano (" Little Miss Sunshine "," There Will Be Blood "). All of this may be somehow likeable, but it suits the actors a script in the way that knows no destination and no direction.The script is a series of bizarre things that seem less funny than vain and deliberately weird.




After the literary professor Louis Ives (Paul Dano) loses his job, he moves to Manhattan in hopes of becoming a novelist. There the sensitive young man finds accommodation with the eccentric and dandy par excellence Henry Harrison (Kevin Kline) in the Upper East Side. He hires himself out as "Extra Man", as the original title says, as an escort gentleman for older, well-heeled women. A special mentor-student relationship develops between the two. Henry introduces Louis into his cosmos of "Extra Man" and involves him in his private quarrels with God and the world. As Louis tries to figure it all out, he secretly raves about his colleague, eco-editor Mary (Katie Holmes), who shows no interest in him. Although Louis first has to decide whether he just wants to wear her underwear or really wants the girl ...




"The last gentleman" is a curiosity cabinet of its own. Kline is a flamboyant, aging chauvinist and has the best lines on his side: "Oh, I'm against the education of women. It dulls their senses and effects their performance in the boudoire. " If you want to know how to urinate in public without attracting attention, this will help. Henry paints himself, if he is missing a sock, this one simply with paint on the ankle, has a questionable fetish for Christmas tree balls, seems to be a flea magnet and exercises feminine-looking morning gymnastics to deafening classical music. His captivating effect in spite of the incessantly repellent and grumpy imperative volleys he explains as follows: “It's my constant disapproval. Some find it fatherly. "



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How well he would have fit into the family cosmos of the &quot;Royal Tenenbaums&quot;. His new roommate is Dano's inhibited Fitzgerald disciple. Completely out of time, he dreams of the 1920s of the Jazz Age, his stiff, submissive habit is pure anachronism. On the other hand, his inclination towards women's clothes seems almost contemporary. While he is investigating this unsettling urge, it is always abundantly clear that behind all the errors and hesitations there is an overwhelming longing for love. The sexual - Henry's gymnastics and Louis' transvestite features - is so lust-free, on Strangely de-sexualized in such a way that one soon suspects suppressed instincts &agrave; la Thomas Mann everywhere. The fact that there is ultimately no resolution of these sexual clashes reinforces the aimless and arbitrary impression of such scattered peculiarities. GoStream Everything is clearly weird, Shari Springer Berman and Robert find a narrative center But Pulcini does not.




&quot;The Last Gentleman&quot; is lost behind all the eccentricities that the directing duo piled up over 100 minutes. The bizarre is the main attraction of the film and all too often stands in the way of the story and character development. The neighbor and Rasputin revenant (John C. Reilly , &quot;Magnolia&quot;) speaks in squeaky tones, probably due to a psychological dissonance. When do you finally get to see the &quot;Magnolia&quot; Reilly again, who doesn’t care for such clothes? Also nasty: The cast of the less favorably reputable Katie Holmes as an unsympathetic-militant vegan. Who likes weird offbeat comedies, in the characters On the fringes of social compatibility, taking their quirks and hardships sometimes funny, sometimes annoying, that's right with &quot;The Last Gentleman&quot; as the supporting film to &quot;The Royal Tenenbaums&quot;.


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