The titular Jerry Maguire (Tom Cruise) wears two shirts two sizes too big to a Mexican restaurant. Afterwards, he walks his single mother of a date (Renée Zellweger) up her porch and hands her the leftovers. He meekly and respectfully pecks her on the lips but she reaches for his neck and returns the favour. They try to tell each other good night, trying to set each other’s boundaries. But they do things on that porch what they could do in a place that has four walls.
This is what sex could look like in movies. Director Cameron Crowe and his chooses to show kisses and close-ups of the two fully clothed lovers’ faces together. A director could plop a tripod near a wall of a dimly lit bedroom but there’s something in the implicit and romantic that makes two people falling in love look like an art form. This reminds me one of the earlier scenes in Frank Capra’s You Can’t Take It with You, Cruise and Zellweger whispering to each other like Jimmy Stewart and Ann Sh…Jean Arthur, both couples basking in stylized warmth.
Another great aspect of their romance is that they’re surrounded by people who love each other, including Cuba Gooding Jr., who won an Oscar for his role here and Regina King, who plays Gooding Jr.’s wife.
I remember seeing this movie when I was younger but not this scene. I just remember the first part and another one with Zellweger and a then young and nerdy-looking Jonathan Lipnicki, who plays her son in a car. Or maybe he was in the car with Cruise. Anyway, the scene I’m describing in the past two paragraphs feel like something I would have seen as a child. God knows which movie couples whom kids are watching and learning from these days. I also don’t remember – and correct me if I’m wrong – Cruise doing anything further than this despite of his Hollywood crush object status. His character in Eyes Wide Shut was probably the most sexually frustrated one.
And the joke is that I can’t even stand these two people. Couldn’t then, couldn’t now. But still, I really like how effective this scene is.
The idea of revisiting Cameron Crowe‘s Almost Famous, like revisiting films I’ve seen in my childhood and adolescence, seems like an anxious and difficult one. My taste in movies have changed. Besides, this movie spends its reputation being the two words before a punchline about Kate Hudson‘s wasted career. It also seems like the movie’s opening song is cruel foresight to Jason Lee in the Alvin and the Chipmunks movies. Where is Fairuza Balkher mixture of sharp and round features and her dated Got spunk, the comic relief, one of the four band-aids or anti-muses distracting 15-year-old William Miller (Patrick Fugit) from writing his Rolling Stones cover about the fictional band Stillwater, one of the misfits reassuring William’s mother Elanie (Frances McDormand) that she properly raised her son? I want to live in a world where Fairuza Balk is more famous than Zooey Deschanel. And where is Fugit?
The film features people I recognize when I first saw this in 2001-ish, actors who didn’t make a great impression then but do now or other actors who made an impression but whose names I didn’t know. But I’m naturally fascinated by those I couldn’t have known then. The outwardly anxious band manager is Noah Taylor, who also plays the inwardly anxious father in Submarine. Ben Fong-Torres’ (Terry Chen) right hand man is Rainn Wilson. One of the characters I don’t vividly remember Lester Bangs is, the actor who played him (Philip Seymour Hoffman), nor the way he mourns after post-Altamira rock music where everyone just wants to be cool. The 1973 I knew is the year after “American Pie” and the year before punk. Led Zeppelin and Pink Floyd were the bands everyone listened to and still do today. This movie and Dazed and Confused might make a decent double bill, tackling and deconstructing the cynicism prevalent in the 1970’s. I also remember watching this when I was thirteen or fourteen, when William goes to his first Black Sabbath concert, watching the crowd of cool kids, and I was thinking that that was the last time that kids of all races listened to the same music. I obviously know that I’m wrong about that now.
But while races are united under the music, the film also shows how rock relegates unfair gender roles. How does William fit into all of this? Does that he has a male with a tape recorder mean that he’s above these ‘groupies? He equally idolizes Russell Hammond (Billy Crudup) like they do. But Russell isn’t just a figure for William’s idolatry, as the film makes room for him to doubt William’s innocence – which the band only does – as well as confide in him, telling him to just make the band look cool. He in a way embodies a human who’s ambivalent about rock’s inherent contradictions without confusing the audience or breaking William’s soul. Meanwhile, some regard Hudson’s Penny Lane as a Manic Pixie Dream Girl avant la lettre but the airplane scene shows how the men neglected what she wanted from them. Yes, she does help men fences between William and Russell, but the last thing she does is treat herself.
Elaine is obviously the exact opposite of these ‘band-aids,’ being a stricter character, the natural yin to rock ‘n’ roll’s yang. I didn’t remember hearing what her possibly logical arguments have been about rock except that she objected to it. That makes her the film’s frumpy-faced villain, whose phone conversations with her son reinforce her conservative anxieties, the one referred to as a ‘handful’ by a desk clerk (Modern Family’s Eric Stonestreet). Rewatching made me see her as someone knowledgeable and therefore forging a new and flawed path in new parenting. But in her methods, such as partly homeschooling William, she won’t be right all the time. When she corrects a man for painting the word Xmas – X is Greek so be quiet! Despite her strong reservations about the new music, she’s more liberal than I remember, letting her daughter Anita (Zooey Deschanel) be an independent 18-year-old woman and allowing William to tour with the band instead of the latter two run away. These prodigal children’s eventual return and her understanding of them – as well as Russell Hammond (Billy Crudup) – seem more organic instead of looking like a hurried third act finish.
The film is definitely not fast paced, letting its magical moments grow without meditating about them. The film is like walking down a dirty, seedy, big city main street and understandably calling it vibrant. Despite the subject, it’s innocent without being insipid. The film ends with Doris, Stillwater’s tour bus, riding out into the sepia tone sunlight, reminding us that we’re watching a happy nostalgia.
- Daily Dialogue — May 12, 2011 (gointothestory.com)