Some thoughts about "The Disaster Artist"

"The Disaster Artist" has three sources: The Love Tragedy "The Room" (2003), Greg Sistero's autobiographical book, one of the central roles in it, and an excellent article in Entertainment Weekly, which describes how improbably film has become a permanent object of viewing cult. Author and protagonist in the Room, a miracle of lacklusterity, fed with the slop of the TV melodrama and mistaken at every level from a storyline to a soundtrack, is someone named Tommy Wiseau. "Someone," because his name is certainly invented and, apart from being disastrously unarmed, almost nothing else is known to him. Enigmatic type of vague origin at the age of 40 at the time of the narrative events, with a broken English and a rough German-speaking accent, with long black hair, laughing and rotating robot movements, dark glasses, lightly dirty clothes and a completely vague past, , opinions, environments - Wiseau, who dreams of being an actor, but he does not find expression, collects a team and makes himself a film to play by producing it with an incomprehensible six million dollars. The premiere of "The Room" forces spectators who have not left the gym in a hysterical laugh (and to remind: we are talking about a tragedy ending with death), something is crawling and people start to share with each other, watch the second, fifth and eighth time, invent their rituals, recite the lines with the characters, turn the screenings into small noisy feasts ... and here, 15 years later, "The Room" continues to be programmed once a month at certain theaters in the States and collecting old and new fans like "Rockie Horror Show".

I watched Rocky Horror a long time ago at the Munich Lichtspill Museum in Munich, where she screened it every week on June 24, 1977. This is far from being the only place in the world with this tradition, but it is one of the oldest and the viewing in the gym is fundamentally different from the one on the Internet: real fans come in disguise, throw things, sing and scream with the actors, and when the youngster Susan Sarandon is running away from the foolhardy owner of the castle where she is home (a mad scientist with "low morale and high persuasiveness", who is a seductive transvestite with mesh socks and an alien from the Transylvania galaxy) around the rows in cinema solidly at least one or two girls goes away. The film is a madhouse, the experience is a madhouse, but the childish joy of the whole saves him from sour sober judgments. I assume that the merry screenings of the Room attract such reasons (because there is nothing in the world that justifies the appearance of the entire "movie" in private with the computer screen) and since I know that unlike Rocky Hurray there is neither eccentricity, neither talent nor content, I also admit that the special ingredient in chemistry between the public and the author is the perfect impossibility of putting Tommy Wiseau into any coordinate system. "The room" provokes mockery, but also sympathy and sharp curiosity, and that is what keeps it in the poster. Obviously, James Franco was attracted to the mystery to wish to walk through Tommy Wiseau's footsteps with his rhythm. However, "The Disaster artist" - infinitely more professional and more secure than "The Room", of course - simply plays everything familiar rather than unraveling the rest. It is a great magnifying glass that goes down over curious life fact and does not analyze, does not color, does not mix like a kaleidoscope but only increases the facts.

In 2013, Kanye West made a new video, Bound 2, which was such a peak of bad taste that it was always screaming to be ridiculed. The parodies were not late and one of them was James Franco and his indivisible friend, Seth Rogen: it was called Bound 3, and a frame shot copied the original - gestures, choreography, atmosphere. Franco copied the angry manner of Canyon, and Rogen, with bare hair, shoulders and fluffy frowning flesh - the sexy postures and smiles of Kim Kardashian. The replacement of the woman with a man and the black rapper with an actor played by James Dean was the only deviation, but it was the necessary step from the unconscious to the sought-after mockery. And Bound 3 gets terribly ridiculous. "The Disaster Artist" is lacking any interference, the incomplete picture of reality is given one to one. There is no shifting and step forward, there is no replenishment of the story, no creative participation. At one point in the The Disaster Artist, the assistant director (Seth Rogen, of course) asks Tommy Wiseau (James Franco): well, the decor here reproduces the alley in front ... why do not we shoot straight in the alley? "Because it's a true Hollywood cinema!" Answers Tommy. The "The Disaster artist" reproduces exactly the part of "The Room" and the few known events before, during and after the filming. And Franco is Tommy's remarkably accurate imitator ... Still: is this the actor mastery for which he rewards? The difference between Elvis Presley's impersonator and Elvis Presley's actor is probably the fact that the first one repeats it, the second interprets it. From the first he is expected to be like Elvis through a swing of the pelvis and a gelosan perch, from the second - to be Elvis by exploring and understanding.

"The Room" is fun, there is no controversy. I am sure, however, that at least half of the gynec records can also make more cussing situations for filming: the story of the woman most able to wear her eyes, that of the man with the longest nails on the left hand, -the high-rise lamas. In any case, however, the value of possible stories will not come from makeup and special effects of eyes, nails, and jumps, but from placing them in context, from burial in their motivation, from processes behind the facts. "The Disaster Artist" is a filthy film about the interesting fate of a bad movie, without which the "The Disaster Artist" is not so interesting. The problem is that once a person passes through the two films, articles, and interviews (because curiosity stays hungry), the feeling is finally too much of a waste of time.

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