Saturday, September 22, 2007

Project Stallone: "Rhinestone"



Rhinestone
By Peter John Gardner

Although I was born in New York, I have lived in the south for the better part of my life. While I spawned in Long Island, NY and lived there for my first seven years, my family moved to Dallas, TX when my father received a job offer from JCPenney HQs located in the Dallas/Ft. Worth area. After seven years of Texas, my parents divorced, and my mom and I moved to Florida so that we could be closer to my grandparents. I've been living in the south for about 17 years now, yet it's never felt like home to me. Even though I only lived in NY for a few years, it was the NY mindset and culture that I most identified with, seeing as how my family consisted of native New Yorkers and New Englanders. To this day, I still have NY-to--Southern-America culture shock moments. I giggle when I see somebody wearing a cowboy hat, and I still think southern accents sound funny.

Rhinestone finds our old friend Sly in a similar boat. He plays a smart-mouthed, obnoxious, simple minded cab driver in New York City. He comes from a stereotypical Italian-American family (they have meatballs for lunch! Every day!) and lives above his father's funeral parlor. One night, when scaring the living shit out of some Japanese tourists in his taxi, he ends up at the Rhinestone club which just so happens to be THE place to go for country western...in New York City. Meanwhile, Club Rhinestone's in-house star Jake (played by Dolly Parton), has a bet going with the club's manager that she can turn the next "normal" person she sees into a country music sensation. Stallone nearly crashes into the front of the club with his taxi, tourists still in tow. And then, my friends, hilarity ensues...

The rest of the movie is just one awkward and uncomfortable moment after another as we see Stallone learning not only how to sing country music but the ins and outs of Southern culture as well ("If you want to be a real cowboy, you gotta mix your peas with your mashed potatoes!" says Dolly). Have you ever wanted to see Sylvester Stallone in cowboy attire? You got it. How about Stallone trying to get Dolly Parton to sleep with him? It's here. Stallone singing the most god awful country music you will ever hear? Rent this bad boy.

The movie is meant to be a comedy, but it left me feeling more awkward than anything. To its credit, Stallone's character is supposed to be obnoxious, and he handles that well (whether he's consciously doing so or not is another matter entirely). Dolly Parton, as ridiculous looking as she is under about ten pounds of makeup, is actually quite charming in her role. She's basically playing herself, but that's ok. Dolly's personality is basically that Southern-girl-next-door type; everyone knows a girl like Dolly, minus all the makeup.

Coming from a family with a prominent Italian-American side, I couldn't help but share Stallone's awkwardness and culture shock throughout this entire movie. I've had many embarrasing moments when hanging out with friends that grew up primarily in the south. For instance, I had no idea what the fuck grits were for most of my life. My family always called the dish polenta.

"Wanna go out fer breakfast and git some pancakes and grits?"
"Pancakes and wha...?"

This gem from an ex-girlfriend's family Thanksgiving dinner also sticks out in my mind:

Her uncle: "We're gonna have a barn raising this weekend. You should help out, Pieter (yes, that's how southern people pronounce my name)!
Me: "What the hell is a barn raising?"

There seems to be such a sharp divide between northeast culture and southern culture in America that when one combines the two, as in Rhinestone, the results aren't exactly comedic. They just feel like a series of really awkward scenes that rely solely on the fish-out-of-water element for laughs.

I'm 26 years old, and I've lived in the south for 19 years of my life. I don't really consider myself a New Yorker at heart. I never developed a New York accent (unlike everyone else in my family), my attachment to the state has dissipated over time, and whenever I've gone back to visit family, while I feel more comfortable there than in the South, it still doesn't quite feel like home. I don't really feel like a Southerner either. I don't care for Southern cooking, never got into country, never picked up a Southern accent, never understood the attachment to religion, never understood Southern pride and rebel flags, and I NEVER mix my peas with my mashed potatoes.

So, if New York doesn't feel like home, and I don't really fit in Texas or Florida, then where do I belong? This movie only reminded me of the black sheep insecurites that I feel with my friends, co-workers, and my own family. Rhinestone is supposed to be a comedy, but it just made me uncomfortable. While you may not share the same insecurities that I do, the sight of Stallone in cowboy swag line-dancing and singing country songs should be enough to make you squirm.

"Wherever you go, there you are." Ok, that's cool and all, but what if where you are just doesn't feel like it's where you're supposed to be?

Saturday, September 15, 2007

Project Stallone: "Staying Alive"



Staying Alive
By Peter John Gardner

I am of the opinion that the makers of this movie intended it to be a masochistic experience for desperate souls that want to end their life. Watching this movie is an exercise of one's own will to live. As I watched this film, I considered suicide a few times, desperately wanting to get out of watching the rest of Staying Alive.

This movie is bad. Not just any kind of bad. It's a different kind of bad. This movie wrecked my soul.

For Project Stallone, I just follow along Stallone's filmography on imdb.com with Netflix. This movie, while written and directed by Sylvester Stallone, only featured him onscreen in a blink-and-you'll-miss-it cameo. "Whatever," I thought to myself. I've watched a movie with a Sly cameo for the Project before (Lovers and Other Strangers) and ended up actually kind of liking the movie.

But not here. This movie's aim is to hurt you. I wouldn't be surprised to find out if this movie was commissioned by the government in order to control overpopulation.

"Staying Alive" is an unnecessary sequel to "Saturday Night Fever", which is actually a pretty damn good movie even if you don't like disco. I don't know whose idea it was to bring back Tony Manero for more dancing hijinks, but the aftermath is crystal clear. This movie killed Travolta's status as an A-list star, and his career wouldn't be revived until Quentin Tarantino brought him onboard as Vincent Vega in "Pulp Fiction".

Perhaps it was Stallone's idea. A tough talking, streetwise, Italian-American from New York that rises to the top using his own raw talent? Stallone can relate, I'm sure. Dancing around in leotards and thongs for Broadway auditions? If that was Stallone's idea as well, I think we might be starting to see an abundance of underlying homosexuality at this point in his career (for further proof, see Rocky III).

I know the notion of a Travolta and Stallone teamup excites all of us, but the results will make you hate yourself. The plot of this movie is a mess of cliche and disjointed scenes that have no relevance to the plot of the movie. It's basically a boy-meets-girl, boy-thinks-he's-hot-shit, girl-ends-up-using-boy, boy-tries-to-win-her-over-with-his-supreme-dance-moves film. It lacks the fun and sass of Saturday Night Fever, as well as a decent soundtrack. Whereas in Saturday Night Fever, most of the songs are recognizable to even the most casual viewer, "Staying Alive" is flooded with dance sequences set to 80's synth pop that sounds like something you'd hear while shopping at TJ Maxx on a Sunday morning.

And there are MANY closeups of Travolta's crotch. They are so abundant that I refuse to believe that they weren't deliberately trying to insert as many crotch shots as possible. If you've ever wondered what kind of heat Travolta is packing, then this movie is for you.

But it's not the crotch shots that killed this movie for me. The plot is predictable, the dialogue will have you thinking, "Nobody fucking says that", the dance sequences aren't exciting at all, and the acting will make you want to stab yourself in the crotch with a pair of scissors. Nothing in this movie will enlighten anyone. Believe me, I tried to find some kind of lesson in this film, but I've got nothing other than repeating the usual underdog themes that I've discussed for previous Stallone films.

That doesn't mean that I didn't get anything out of this experience. After making it through "Staying Alive" with my wrists uncut, I now know that I can withstand anything that life may throw at me. It was a test of endurance and willpower, and I passed. In fact, I feel that anyone that can make it through Staying Alive's 93 minute runtime is a tough cookie. I don't know if making it through this movie has enlightened me in any kind of way; all I can say is that I survived.