Saturday, January 18, 2014
Barry Levinson's "Diner": Kael vs. Wolcott
It’s interesting to compare James Wolcott’s “French Fries
and Sympathy” (in his recent collection Critical
Mass) with Pauline Kael’s “Comedians” (in her classic 1984 collection Taking It All In). Both are reviews of Barry
Levinson’s charming, offbeat 1982 autobiographical movie Diner; they provide an excellent opportunity to contrast Kael’s and
Wolcott’s critical approaches. Also, I want to see how the student stacks up
against the master. Wolcott was a Kael disciple, a Paulette. They saw Diner together. Wolcott writes about it
in his memoir Lucking Out (“ ‘What’s
that they’re pouring on the French fries?’ she asked as the camera panned the
diner counter. ‘Gravy.’ ‘They put gravy on French fries?’ ‘Oh, yeah, beef
gravy. Though chicken gravy is an option’ ”). Wolcott was just a fledgling;
Kael was at the height of her powers. The comparison may be unfair to
Wolcott. On the other hand, he may surprise us. He’s an inspired metaphorist. And
he’s closer to Diner’s culture than
Kael is; he grew up near Baltimore, where Diner
is set.
Both pieces are appreciative. Kael, in her “Comedians,”
calls Diner “a wonderful movie,”
“that rare autobiographical movie that is made by someone who knows how to get the
texture right.” Wolcott, in his “French Fries and Sympathy,” describes the film
as a “bittersweet reverie about the pleasures of noshing and chumming about
until the squeak of dawn.”
Wolcott’s piece starts strong. His first paragraph contains
this marvelous line:
As Baltimore pretties itself with crinkly gold Christmas
decorations and rows of navy-blue Colt banners, Levinson’s characters – Eddie
(Steve Guttenberg), Shrevie (Daniel Stern), Fenwick (Kevin Bacon), Billy
(Timothy Daly), and Boogie (Mickey Rourke) – scheme and gamble, cop cheap feels
and mull over impending marriages, blow warmth into their knotted fists,
reminisce about high school escapades, razz each other into fits of helpless
laughter.
That “blow warmth into their knotted fists” is very fine.
In contrast, Kael’s loveliest effect is her conclusion:
Levinson has a great feel for promise. At the diner, the
boys are all storytellers, and they take off from each other; their
conversations are almost all overlapping jokes that are funny without punch
lines. The diner is like a comedy club where the performers and the customers
feed each other lines – they’re all stars and all part of the audience. The
diner is where they go to give their nightly performances, and the actors all
get a chance to be comedians.
Both critics admire Diner’s
talented young cast. Both are excited by Mickey Rourke’s Boogie. Kael calls
Boogie “the sleaziest and most charismatic figure of the group.” Wolcott
describes him as a “tattered prince of sleaze.” Wolcott’s depiction of Kevin
Bacon’s eyes as a “bleary, amused scrunch” is very good, as is Kael’s notation of
Steve Guttenberg’s “perfectly inflected Paul Newman-like grins.”
Both critics are superb noticers. In his piece, Wolcott
points out that the drummer in the strip-joint scene is “portrayed by Jay Dee
Daugherty , formerly the drummer for Patti Smith.” In “Comedians,” Kael notes
“the kid wandering around quoting from Sweet
Smell of Success.” Regarding the wedding scene, Kael mentions “the
Baltimore Colts marching song and the bridesmaids’ dresses in the Colts’ colors
(blue and white), and Beth trying to teach her record-aficionado husband to
dance.” Looking at the same scene, Wolcott observes,
Here girls in white gloves flex their fingers in
anticipation of the flung bouquet, Earl affably picks his way through the
buffet, Boogie and the gang gather around the table (ties loosened, smiles
relaxed); the entire sequence has a hushed tenderness in which every character
is given his dignified due and then suspended in time, to be remembered only
with fondness.
That phrase, “girls in white gloves flex their fingers in
anticipation of the flung bouquet,” is wonderfully alive. At the end of his
piece, Wolcott says that Diner’s
“world and feelings have the full crack of life.” So, too, do these two
splendid, generous-hearted reviews.
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Having just watched Diner on TCM, I looked for Kael's review (I'm a lifelong Kael fan.) I was so glad to come by your site and to read your appreciation--the paragraphs you cited from each indeed evidenced very fine and generous-hearted writing. Thanks!
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