This review is my contribution to Epinions member Simply_ Crispy's Expunged from their CV Write-Off. The rules are to choose a film that features a struggling actor in an early menial role, who rose above it all to become a well known, popular artist/OR to choose an actor who was once a household name and who has been reduced to taking any available role to keep working. I was lucky enough to find a film that fits Simply_Crispy's clever profile, and that had not previously been reviewed on Epinions.

The 1988 film Moon Over Parador, co-written and directed by Paul Mazursky, (Down And Out In Beverly Hills/Moscow On The Hudson) combines political satire with a zany plot, neither of which manages to carry the film. It also features a performance by a legendary comedian from the recent past, Jonathan Winters, who starred in a series of madcap comedies in the 1960's including It's A Mad, Mad, Mad World, (1963) The Russians Are Coming, The Russians Are Coming, 1966 and Eight On The Lam 1967. Winters was also a popular television personality hosting his own show in the late 1960's. Moon Over Parador also features cameos of a rising star at the time, Dana Delaney (China Beach) and another dimming star, talk show host Dick Cavett. I hit the jackpot with this one, as 1950's-60's rat pack member, Sammy Davis Jr., landed a small bit part playing himself and performing a couple of musical numbers including Cole Porter's (Begin The Beguin).

The film opens with B grade actor Jack Noah (Richard Dreyfuss) lining up with others to audition for a role in a New York City play. When asked about his previous role, Noah launches into a lengthy flashback that chronicles his year long performance in a Latin American country, Parador, which turns out to have been the role of his life to that point.

Upon completion of a film in Parador, a CIA agent posing as a wacky tourist, (Jonathan Winters) convinces Noah to stay in Parador for the annual Mardi Gras style carnival. Noah is introduced to Parador's Dictator, Simms, at a reception. As a joke, his co-star mentions that Noah does a credible impersonation of Simms, which upon demonstration, meets with the approval of Simms and his right hand man and Chief Advisor, Roberto Strausmann (Raul Julia). Simms, whose boozing and womanizing lifestyle has finally caught up with him, dies from a heart attack en route to a steak dinner at a swanky night club. In order to appease the masses and avoid a military coup of the administration, Strausmann forces Noah to accept the role of impersonating the deceased dictator upon threat of death.

The remainder of the film centers around Noah's struggle to adjust to his role as military dictator, assuming Simms' personality traits and mannerisms. In the meantime he falls in love with Simms' ambitious mistress, Madonna (Sonia Braga). A subplot involves Strausmann's plan to stage a revolt, resulting in a change of power to his control. Noah plays a trump card, however, devising his own clever escape by staging his assassination and fleeing the country in a small aircraft, leaving Madonna in an emotional farewell, a la Casablanca

The main problem with this film is that Mazursky tries to blend a few too many satirical elements including politics, the acting profession, and South American dictatorships, with an off the wall plot. Unfortunately, the result is a pointless, boring, mildly amusing film. The political satire is a bit too obvious, as Simms is portrayed as a stereotypical figurehead in a country on the verge of a revolution, with the conniving marionette Strausmann, lying in wait for his ascension to power. It doesn't help that Simms' political speeches consist of nothing more than a few platitudes and quotes from Man From La Mancha.

That leads me to the plot itself, which is so far fetched, as to border on the ridiculous. Noah manages to fool an entire country except for his closest associates for an entire year, while taking the leadership role so seriously that he begins trying to institute reforms such as a government sponsored weight loss programs and programs to aid the poor. On top of that, Simms' credibility is instantly compromised the minute we hear him speak in a chuckling, guttural tone reminiscent of Henry Gibson's dirty old man from Rowan And Martin's Laugh In .

As if all of that were not enough, the movie is just plain boring. By the time the convoluted plot is finally resolved, no one really cares about the end result or is even vaguely interested in Simms' successor, which incidentally, is not Strausmann but another satirical twist.

Richard Dreyfuss and Raul Julia manage to deliver good performance despite the quality of the material. An example of a typical one liner that falls flat occurs when Noah is presented with his first elaborate breakfast as Simms. He quips "geez, butter and sour cream, no wonder the man's dead." Jonathan Winters plays to his comic strength in his typical borderline manic style with his limited role.

Perhaps the funniest line in this absurd comedy appears near the end of the film, when Noah makes his getaway with a final aside to the audience referencing the scene with "this is right out Casablanca." Yeah, in your dreams Noah. The only thing this film has in common with that classic film is the exotic setting. One is fictitious and the other real, enough said.

Please see the reviews by other participants in this write-off: arjita, artbyjude, BigJack, brodieman, d_fienberg, jankp, Lemon_lime, Lynus, marcesarf1, MrsNormanMaine, Susidee34, tjmackey, Vormancian, wierdo_87, and xxxxer.



Recommended:
No

Viewing Format: VHS
Video Occasion: Good for a Rainy Day
Suitability For Children: Suitable for Children Age 13 and Older