The Disaster Artist is one part homage to a director who has more than a little in common with Ed Wood, one part celebration of someone whose dream reaches a surprising fruition and one part celebration of “The Room.” This behind the scenes tribute to one of the world’s worst films captures the innate weirdness of Tommy Wiesau as auteur.
The film is based on Greg Sestero’s retelling of everything that went into the making of the 2003 cult favorite; a film so bad that audiences took it to their collective bosom and began to worship the atrocity as a delicious comedy.
Directed by James Franco from a screenplay penned by Scott Neustadter, Michael H. Weber, Sestero and Tom Bissell, The Disaster Artist is as funny as it is difficult to watch, in places. The story of how a complete novice, to whom English is a shaky second language, manages to make a movie and pour enough money into the venture to ensure Oscar qualification is entertaining.
“The Room” (the film made by Wiesau) was so monumentally bad that it became a cult favorite and the start of Franco’s “behind the scenes” film has a few celebs from the business explain their fascination with the movie. Even if one has not seen the original, which Franco manages to match shot for shot – several times, The Disaster Artist is funny.
Seth Rogen plays the only character who appears to have any experience making movies and Dave, brother of James, plays Sestero, Wiesau’s object of devotion and the other star of “The Room.” Zac Efron has a cameo as the gun toting thug and the delicious Alison Brie is Amber, Sestero’s girlfriend.
(Ari Graynor, Megan Mullally, Josh Hutcherson, Bob Odenkirk, Randall Park and veteran Aussie actress Jacki Weaver round out the cast in a most satisfactory and fun “spot the face” way. These familiar faces really make the film seem like a labour of love.)
It is Amber’s entrance that clarifies Tommy’s “obsession” with Greg and causes the first of many cracks to show in the two men’s relationship. There are a number of cameos in the film. Melanie Griffith plays Jean Shelton and Sharon Stone plays Hollywood agent Iris Burton. The delightful Lauren Ash plays the florist.
Cameo appearances aside, The Disaster Artist can be seen as much more than a biopic about a Polish mystery figure who wants to make and star in movies. It is about tenacity winning out over lack of experience and, somewhat ironically, seems to prove that any moron with enough money can indeed make a movie.
The one thing that shines through is that Tommy knows nothing about making films. He manages to write a screenplay but has to rely upon his hired “experts” to make the film happen. Rogen’s character and the DP both run the two cameras, one of which is a high definition video camera, and try to instill a little realism into the 2003 film.
The Disaster Artist is more like “The Little Train That Could.” The end of the film shows Wiesau, Sestero and the rest of the cast and crew attending the film’s premiere. At the end of the viewing the audience stand spontaneously and give the auteur a standing ovation. The message being that despite the film being funny for all the wrong reasons, Wiesau has managed to entertain his targeted audience. As a result, his little film makes a new kind of history.
Franco does a brilliant job as director and with his portrayal of the rather odd Tommy Wiesau shows that he can really wear multiple hats successfully. (His character Tommy, the real one, actually makes an appearance toward the end of the post film credits and interacts with “himself” – Franco’s version of Wiesau.)
The Disaster Artist may not be Oscar material but it is funny and hits those parts that many films fail to reach. A real 4.5 star effort that tickles that funny bone while simultaneously pulling off some brilliant cringeworthy moments. It is in cinemas now and well worth the price of admission.
I will be very honest here, I adore Seth Rogen and James Franco as a team and in The Interview movie, where they give the finger, or more accurately a tank round, to Kim Jong-un these two prove yet again, just how good they are together. Long introductory sentences aside, the point about the film is this, a feature does not have to be high art to be popular, period. Yet we have a score of “film critics” who are now pontificating about the merits, and lack thereof, of the film and its plot, characters, etc, etc, etc…
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