CURTAIN CALL
US, 1997, 103 minutes, Colour.
James Spader, Michael Caine, Maggie Smith, Polly Walker, Sam Sheppard, Buck Henry, Frank Whaley, Valerie Perrine, Frances Sternhagen, Marsha Gay Harden.
Directed by Peter Yates.
Curtain Call received very little commercial release. It is meant to be a charming and light ghost story set in New York City. However, at times it is laboured, at times it is a touch twee. James Spader is the hassled hero, in a book-publishing firm which is going too popular for his taste, feeling a bit controlled by his partner (Polly Walker) and her getting a house for him, his discovery of ghosts in the house, putting his foot into situations, further entangling himself and alienating people. However, as a pleasant ghost story, it eventually has a happy ending on New Year's Day. Michael Caine and Maggie Smith do their usual kinds of roles as the ghosts of two Broadway stars who continue to inhabit their house, bickering with each other - and who ultimately have to acknowledge their love for each other and go on to the afterworld. Buck Henry has a strong role as the popularising publisher, Sam Sheppard is a senator, Marsha Gay Harden a vamp-type art director.
The film was directed by Peter Yates who began his career in the 1960s with musicals for Cliff Richard and moved to wide international success with Bullitt. He has remained a consistent director during the 70s, 80s and 90s. However, Curtain Call was something of a failure. It is pleasant pastime material instead of an eccentric and amusing ghost story that it might have been.
1. The popularity of ghost stories? New York City? Broadway?
2. The New York settings, the publishing firms, apartments, the streets in December? Washington? The musical score and songs?
3. The title, the opening collage of scenes of Broadway in the 20s and 30s, recreating the atmosphere and the tradition of Broadway? The transition to the 1990s?
4. The title, the performances of Max and Lily? Curtain call for them, curtains for Stevenson?
5. The screwball romance element, comic, sentimental? Stevenson, hassled, exasperation, his work, relationship with Julia, jealousy of the senator?
6. Stevenson at work, the publishing takeover, the new boss, his broadening the catalogue, cat names, female sales _? His seeming to be insensitive? The interviews with Stevenson, the board meetings and Stevenson's attack, the boss wanting him to take charge of the production of the book on women? His being dressed as Patten at the New Year's party? Stevenson and his secretary, her support, his wanting to do better books, the interview with the journalist and telling him his novel was a good first draft - even though the screen rights had been sold and the screen people would not notice the improvement of a second draft? Meeting the girlfriend of the boss and her book on cat names? His final decision, telling the boss the truth, going out on his own and the final credits with him setting up his own business?
7. His relationship with Julia, the long romance, going to the house, his seeing the ghosts, putting his foot in it, saying the wrong thing, not claiming the house for them both? Her being upset, coming to meet him yet becoming entangled with the ghosts' conversation? Moving in, Stevenson's seemingly strange behaviour, her leaving? Going to Washington, Stevenson coming to the meal, the ghosts causing a mix-up? Her not wanting to see him again, her promise to go to the Michelle and her vampish behaviour, Julia being disillusioned? At the New Year's Eve ball, dancing with the ghosts, learning the truth, rushing to the house, the reconciliation? Stevenson and his being bothered by the ghosts, yet friendly with them, getting their advice, the happy resolution?
8. Stevenson and the ghosts, puzzled, bewildered, yet taking their existence for granted, jokes about them? Their appearing and suddenly disappearing? Their comments, Max finding out where Julia was? Their coming to the ball, dancing with the senator and with Julia, making things right (after messing things up by their whispering at the dinner in Washington)?
9. Michael Caine and Maggie Smith and their old style, Broadway couple who seemed to hate each other, continually bickering, yet loving each other, the ball where they first met, the happy reconciliation and going to the afterlife?
10. Popular ingredients - but a touch too laboured, a touch too sentimental? Not a box office success?
