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Eddie Murphy's new comedy is less than heavenly.
By Polly Higgins
SPIRITUALITY IS HOT at the box office. First we had those
angel movies; more recently there was that Jesus freak Simon Burch,
and of course Dreamworks' animated, much-anticipated Moses movie
opens in two months. Why all this deep thought, and why now?
Maybe we're taking stock of our empty lives as the end of the
century draws near, or maybe the studios have simply found the
ultimate way to sell an unsubtle story. I don't have the answers
to such universal questions, but I do know that, after the revelatory
experience provided by the God-genre film Holy Man, Eddie
Murphy is certainly an apt choice for spiritual guide to the next
millennium.
A God film, as with all genre films, has certain conventions
that must be followed. The most important is the reinforcement
of the power of love to a) correct character flaws; b) bring cosmic
truths into focus; and c) support capitalism. Holy Man fits
perfectly into the God genre because it actually incorporates
d) all of the above, into its message.
Ricky (Jeff Goldblum) is a money-hungry infomercial director
with many faults. First of all, he's not successful at what he
does, despite his father complex and desire to die on the road
just like his dead salesman dad. Nor does he have a girlfriend,
an especially obvious lack in your life if you like to frolic
in the ocean naked with Eddie Murphy, as Ricky does. Finally,
he only cares about himself. This, as we know, is bad news in
most religious circles.
Fate, via a flat tire and an automatic transmission, brings Ricky
into contact with pilgrim G (Murphy). After some unnecessary scenes,
we find both shirtless and drinking G tea in Ricky's kitchen.
G puts his journey on hold so that he may help his new friend
get in touch with himself and discover universal truth. Of course,
love in Hollywood films generally manifests itself in the institution
of the couple. Since man love with G would be unacceptable to
many religions and is especially offensive within the parameters
of the God genre, Ricky focuses his attention on Kate (scientologist
Kelly Preston). Though her main flaw is not addressed, this fashion-challenged
character is nonetheless good for Ricky as the media analyst who
saves his career and, more importantly, as the female who manipulates
him into converting to the G religion.
Another necessary element of the God genre is the presentation
of evil in contrast to spiritual good. Sure, Holy Man has
a Satan-like character (McBainbridge, played by Robert Loggia),
but it's too nuanced to stop there. This film attacks infomercials,
and these are super bad because they prey upon weak, lonely technocrats.
(This critique is about a decade late, but if we consider Murphy's
outdated comedic style, the match perhaps becomes more deserving.)
The infomercial makers are greedy, and if you saw Seven you
understand how that fits in here. This untopical topic also allows
for numerous cameos by funny people such as Florence Henderson
selling the Suck 'n' Seal vacuum packer, Betty White selling an
aphrodisiac, and Soupy Sales selling his soul. The God genre is
often played out in a comedic realm, because laughter makes viewers
feel good and, therefore, more open to the God genre message of
love.
It's my belief--and this is just a theory--that "G"
is short for God. G was put on Ricky's planet to touch him in
a way that only an angel can. That's why G agrees to start his
own show, the confusingly sexual G Spot, during Ricky's
time slot on the Good Buy Shopping Network, to help him improve
his sales. And viewers love G, because, well, G is love,
and because it's hard not to at least have some attraction for
people who buck social convention and wear pajamas all the time.
But in the process of selling lots of crap, Kate points out,
G becomes distracted from his journey and starts to change. Ricky,
then (this is another genre convention) must face a character-defining
question: Set G free or get a bigger office? Ricky has much to
learn, and he opts for the latter. Kate bolts, and Ricky hits
rock bottom. Or does he? For in his journey to reclaim his soul,
he discovers a cosmic truth: A life without love is no life
at all.
Ricky retires G and--with the help of a studio audience, cable
television and a cell phone--woos Kate back. The capitalist system
is thus upheld, because, according to the Neilsen Corporation,
an audience full of love is more likely to reach for credit cards
than is an audience of hate mongers.
The messages here are powerful, far-reaching, and certainly not
suitable for children: Do not turn your back on love, even if
your partner wears shades of brown that do not match; infomercials
are still fodder for endless humor; and, though you may need a
lobotomy first, if you accept the comedy of Eddie Murphy into
your heart, you'll be a very enlightened moviegoer indeed.
Holy Man is playing at Foothills (742-6174),
Century Gateway (792-9000) and Century Park (620-0750)
cinemas.
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