It's Awful

I just walked out of a screening tonight (March 17th).

From the first cab scene and appearance of a Coke bottle, to the middle of the film, where Grace's job is under threat and she's whining to Margaret Cho about corporate America, I am amazed I didn't walk out sooner.

I don't want to belittle Fay Ann Lee, who took years and raised an awful lot of money (presumably much of her own) to make this film. I think she can take the criticism being an affluent New Yorker for most of her adult life. I also think the film is unintentionally autobiographical. It is about a woman who works very hard her whole life, but can’t resist being mistaken for someone famous, and cannot possibly say ‘no’ or set the record straight. It’s the story of a rather ditsy investment banker who would rather live on red carpets. No harm in that. But it is very revealing as to who Fay Ann Lee is.

So here's just a few things that made me walk out during the halfway point of the film:

The first-time director, casting herself in the lead. Really? When the first childhood scenes ended and we're introduced to the adult Grace getting into a cab on the Upper East Side, my girlfriend whispered, "Why is grace suddenly 45 years old?" My initial answer was 'poor casting.' Then it dawned on me that it was the writer/director. Strike one of many.

Coca Cola and Dunkin Donuts are sponsors of this film. They are seen early and often. Fine. But it became so blatant and annoying that by the third coke bottle and the donut trade scene, I wanted to scream.

My girlfriend noticed that old cell phones were being used in the movie. That was a tip that this film is several years old (it was actually screened at the 2006 Tribeca Film Festival). Minor point, but fun to spot.

Most characters are poorly introduced. Two white characters look similar. The state prosecutor is not clearly introduced. Grace’s parents are likable. Her male co-worker (who has a crush on her) is also likable. It was also great to see Ken Leung in a role years before his stint on Lost. He’s very good as Grace’s brother. But four likable characters in a sea of unlikable characters – most with only one name, and two with really long names – doesn’t cut it.

And let’s talk about the editing and photography. I’m an armchair DP, and I found the shot-reverse-shots to be both annoying and odd. Rather than the standard made for TV shot, where one character is talking to another with the focus on the one speaking, the shots in this movie are more like headshots. Take the key party scene early in the film, in which Grace is mistaken for an heiress. We see a talking face, followed by a reaction shot of Fay Ann Lee’s face, followed by a different talking face, followed by another annoying reaction. Sex in the City has many scenes like this in the foursome’s diner and on city streets (in which Carrie is usually the one reacting). But compare the framing of those shots to the framing in this movie.

In fact, compare the framing and pacing of a Lifetime movie to this one. Any Lifetime movie.

Like I said, I think Lee can handle the criticism. I guess the end of the movie had the following events take place: Andrew James Barrington, Jr. falls for Grace. He eventually raids and shuts down the sweatshops. Barrington Sr. realizes that Grace is not some ditsy ‘oriental’ (rather just a ditsy investment banker), and there is a happy ending.

Yeah. I had to get out of there to salvage the 40 additional minutes I was about to waste.

I’m an equal opportunity trasher. I think Tommy Wiseau (The Room) is a nut. But at least The Room was unintentionally hilarious and had, on occasion, better shots of characters speaking.

Lee and her promoters say they want 1500 tickets sold this weekend when the film opens in New York City. That’s a lofty number. But perhaps her large network of friends will bail her out.

And as a footnote, written March 18:

It is true that this film cost more than $3 Million to produce? How is that possible? You mean this production was intentionally shot on 35mm film, with a union crew, with trucks and trailers, in New York City, at full price? For whose enjoyment (or ego)? Has anyone seen the films nominated each year for the John Cassavetes Independent Spirit award (2000-present)? Those films have a strict, pre-marketing budget limit of $500,000. All of them are shot better. All of them are written and edited better. Yes, even Blair Witch, the first recipient of the award.

I realize I am now being harsh.

The little New York City union-shot miracle of this decade was Jon Favreau's Made (2001). It was produced for just under $5 Million, and is approaching the $6M gross mark nine years later. It didn't have a real script. It just had a talented cast comfortable with improvisation, some clever location scouting, local business promotion, and a drunk yet highly talented DP (Christopher Doyle), who made every frame look beautiful. For every Made, there are a ton of unwatchable, direct-to-video films shot for about the same budget.

I'm just shocked the budget for Falling For Grace exceeded $3 Million. It's just proof of how incredibly difficult it is to produce a small film that anyone will pay over 10 dollars to see.