The creation and birth of great ideas in Hollywood happens nearly everyday in Hollywood.  The problem that most of them run into is that they are little more than that, an idea that lacks any depth or follow-through.  With The Majestic, there existed an idea, the description of which, sounded intriguing, but also generated questions in my mind.  How will it get from the setup, to the conclusion, and will it have enough depth and legs to make there, reasonably, sensibly, and in a way that is entertaining.  The answer is much more complicated than the question.  While it does resolve everything, and does have enough to carry through, the majority of it is typical cookie cutter ideas filled in, and dragging towards an ending that never seems to want to get there, until every possible heartstring has been tugged and manipulated.  It is very difficult to fault Frank Darabont for what he does with The Majestic.  This feel-good journey of discovery takes no chances, nor does it stray far from the predictable steps expected from the trailer, and while it is a safe bet to say that it’s next to impossible not to be smiling and have a warm feeling in your heart, the trip becomes a bit frustrating as it never quite seems to know when or how to end, or seems to be afraid to, in lieu of not inserting all of the requisite scenes.  With his previous efforts, Darabont at least went out on the limb a bit, and strayed from the norm, but this time, as Oscar roles around again, he filled the film full of nomination clips and typical occurrences, all bathed in a sugary sweet coating, which comes out leaving a good taste, but not a memorable one.

The beginning of this movie made me yearn more to live in Hollywood, than any movie in recent memory.  The explanation of the magic of the movies, and the power of the written word, will always hold a close spot in my heart, and this movie starts off with a big plus in my book, but never goes anywhere with it really, keeping it safe, rather than risk upsetting or alienating anyone.  I guess the closest thing to daring that this screenplay does, is revealed early on, as screenwriter Peter Appleton sits in on a reviewing of his latest script, hearing it torn to pieces basically.  Appleton later finds out that, because of his lusting for a female in college, he has been caught up in the red scare of the 50’s, and labeled a Communist sympathizer.  Frustrated, he drives away from Hollywood, in a slightly intoxicated stupor, only to crash into a river, get carried into the ocean, and awash on a beach, suffering from amnesia.  He ends up in the town of Lawson, where he conveniently resembles a missing war hero.  The town embraces him immediately, as does his “father” (Landau), as he becomes their revitalization to a town that lost more than its share during the war.  As I have stated, it is fairly clear where this movie will go, and what it will do.  The only mystery becomes, is he, or isn’t he, and even this is handled simplistically, despite giving hints at something that could have been.  During the early parts of this movie, I made a list of moments that I expected to happen, not knowing the specifics, but just generalizations.  I hoped it wouldn’t follow them to a tee, but it did, and took far too long in doing so, hence my faults with the delivery of what could have been an interesting message in other hands.

This was supposed to be Carrey’s Oscar chance, part 3, but although it’s a departure from his norm of physicality and slapstick humor, and while proving that Carrey can indeed handle an emotionally complex role, it is nowhere near on par with Man on The Moon or Truman Show.  Just like the film, he retains his playful, child-like spirit, by being both fun loving, innocent and sweet with neither ever really wowing or blowing you away.  Carrey seems to be a kid walking around in a grown-up’s body, showing that he can be as silly and goofy, as he can innocent and vulnerable.  I just hope that those who like this film will respect Carrey for who he is, and what he can do.  The only other performance to take away from this would be that of Landau, nearly stealing the scenes with his youthful glow and exuberance.  In a year devoid of great supporting performances (which this one won’t be) he may get some consideration, but the toothache, bellyache and near comatose state of the Oscar viewers after seeing this, may dilute his chances, as well as the films.

Ultimately, The Majestic is a charming, simple, heart wrenching, yet mildly exhausting effort in showing how we can discover our true selves by seeing a side we may not have known existed.   Movies that seek to touch the hearts and souls can do so, by not always following a set path, but by wandering into areas that we have never seen before, and giving our soul a chance to sympathize, empathize and feel something new. Also, in resolving these stories, stick with an ending, instead of exploring several and teasing us towards one, while instead tying up and building awards resumes for the performers.   This is a harmless effort in tireless futility that is impossible to fault for its intention, but impossible not to in execution.  It stays its course, and succeeds in touching nearly every emotion, but like the cinematic cotton candy that is, once its gone, it really wasn’t that memorable, but still harmless. ($$$ out of $$$$$)

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