Mad Money: Crime Pays Honest People

Mad Money: Crime Pays Honest People

      Keaton and Latifah Go Mad!

We missed Mad Money the first time around, and its philosophy and premise as a comedy requires some thought on the part of the audience. That is rather unusual, but we came to an unpleasant conclusion.

The film really stars Diane Keaton and Ted Danson as a late middle-aged couple who bankruptcy occurs when high-pay ends. They are left with a quarter of a million dollars of debt. Housewife Keaton must return to the employment line to help win some bread.

She ends up at the Federal Rserve as a cleaning woman. It seems unlikely that a woman with a degree in Comparative Lit would do this, but she needed the benefits.

Once there, seeing money destroyed, shredded and destroyed by the Feds, she is moved to commit a criminal conspiracy. There is something disturbing that lifelong honest people will be driven to do dastardly criminal activity to survive. It may be true, though none of the honest people we have encountered would do this.

Queen Latifah is also tempted by the concept that crime is a virus and once exposed, you will turn criminal. Evne more appalling, honest people are the best kind of criminal because their native intelligence and honesty makes them a head above normal criminal imbeciles.

We had some trouble with these concepts, and it had a distinct effect on our laugh quotient. It became most unfunny to watch this caper film with a gang of unlikely ladies.

It may be a film for fans of Latifah or Keaton, but you must be dyed I the wool to put up with this kind of loose ethical standard.







Ghost of Bogart

DATELINE: Not Again? 

  Jerry Lacy as Bogey

We went back in our time machine to the time machine of 1972 who brought us back to 1942. It is Play It Again, Sam,which features Humphrey Bogart advising Woody Allen.

No, Sam never appears once yet again, even in the actual film clips from the movie Casablanca. Dooley Wilson seems to be discriminated against. He sings part of “As Time Goes By,” at film’s end.

This astral route brought us face to face with legendary tough-guy star, Humphrey Bogart. He returned in 1972 in the guise of Jerry Lacy, an impersonator who had a decade of roles as the iconic man in trench coat with Borsalino.

Alas, to see Bogart’s best scenes in Casablanca, you had to endure Woody Allen as Allen Felix, movie critic before the Internet and blogs, who adores Bogie and has an apartment decorated like a 1942 teenage boy. Those collectibles are worth big bucks today.

Though Allen wrote and starred in this vehicle, it was directed by Herbert Ross which gives it some grounding as a ghost story.

The appearances of Bogart dispensing advice to nudnik Allen is appalling, as he speaks sexist and violent attitudes that he never expressed in his movies or real life a generation earlier. If you see this film as homage to Bogart’s Rick and his romance with Ilsa, you have been sold a bill of goods by shyster Allen.

The film comes alive when Bogart and/or Lacy appear, and the film goes down the chute when Allen’s nutcase New Yorker takes center screen.

The Sam “again” part has more to do with Allen re-enacting the Rick role with Bergman in a climactic scene. This was before Allen became Bergman (Ingmar, not Ingrid).

Diane Keaton and Tony Roberts take on thankless roles in Allen’s world, which Keaton was able to transcend by slipping over to The Godfather at the same time she did this film. Roberts and Lacy were not as lucky.

Though the Bogey ghost appears with more frequency in the final 30 minutes, it is not enough to save the story from itself.

Whether Bogey conjures his personality as a dream, an hallucination, or the actual spirit of a movie icon, may be in the eyes of the beholder. We like to think Lacy channeled the real star, but taking it in again decades later, we see this is not a ghost, but a frightful excuse for Allen to behave badly and perform even worsely.