as the saintly, rough-around-the-edges street singer who becomes his unlikely pal, is a movie that feels like it could have been made 30 years ago: a friendly, adult-skewing, tart-witted but never nasty, jokes-and-hugs-built-around-a-serious-crisis character study that’s just ’90s enough to be comfortably old-fashioned, like an old pair of tasseled loafers.
At first, when we see Charlie surrounded by hip New York sketch writers 30 years his junior, or seated in his office typing up jokes on his bath-tile-green manual Smith-Corona, we suspect that the movie is going to be about a relic who gets tossed out of a comedy establishment that’s outgrown him. But Charlie, who has Broadway plays, hit movies, and five books to his credit, hasn’t lost the instinct for how to spin a joke, and for what he calls the “music” of comedy.
Charlie keeps having weirdly vivid flashbacks, usually to moments with his wistful late wife, Carrie , which the film plants us right in the thick of. And what he’s going through is dramatized in a terrific scene set at Lincoln Center, where he appears onstage for the 30th-anniversary tribute showing of “Call Me Anytime,” a rom-com classic he wrote 30 years ago.
The perfect mix and I’m proud to have been a part of this beautiful film. 💫
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Source: THR - 🏆 411. / 53 Read more »
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