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The cult classic “The Room,” starring Tommy Wiseau, leaves the audience with a slew of unanswered questions. Not only are there strange pictures of spoons, strange dialogue, and the star’s penchant for smashing things, but there are also more bizarre curiosities, such as: What kind of mind and soul was responsible for this completely serious production? What kind of artist could make such a bold artistic statement?
“The Disaster Artist,” a film directed by James Franco, only partially addresses the enigma that is Tommy Wiseau. As a result, his lack of self-awareness and transparent loneliness are treated as a sweet novelty rather than as a complicated human being deserving of empathy, which is what the film ultimately does. Even though Franco’s film is occasionally inspired, particularly when it attempts to call back to the magic of filmmaking in “The Room,” the film suggests that it’s easier to laugh at a clown than it is to try to figure out why they’re dressed up in clown make-up.
The simplistic approach begins with the friendship between Wiseau and his friend, actor, and line-producer Greg Sestero, which serves as a hollow focal point for the story. Wiseau (James Franco) is a shadowy figure of ambiguous older age and accent origin who commands attention in acting classes with a bombastic presence (in one scene, he simply repeats “Stella!” ala Marlon Brando but without any of the surrounding context). An all-American and conventionally handsome rising actor named Greg is the one who discovers him, or rather notices him, in the real world (Dave Franco). They are brought together by their shared ambition to become well-known actors, and they eventually relocate to Los Angeles, where Greg is more successful than Tommy in obtaining audition opportunities.
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The dynamic of a real-life, Apatow-brand bromance is prominent throughout the film, and it makes for a few amusing bonding moments, such as when Tommy makes Greg loudly rehearse a scene in a restaurant as a ridiculous gesture of fearlessness, which is played as a sweet story about friends from its opening whimsical guitar score. However, it becomes increasingly thin as the story progresses, particularly as Greg appears to be completely obedient and unquestioning to the eccentric Tommy, only to sever that type of friendship focus when he meets Amber (Alison Brie). Its uniqueness and the legendary film project that eventually comes between them do not detract from the fact that their friendship has no real stakes in it at all.
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After that comes “the masterpiece.” Tommy decides to direct his own film (which he compares to the works of Tennessee Williams) in an attempt to gain recognition in Hollywood, despite the fact that he has no prior experience as a director. He purchases cameras rather than renting them, builds a set for an alleyway rather than simply shooting in an alley, and films in both 35mm and high definition at the same time, all before they begin actual production. Greg goes along with it, a smile on his face the entire time, and Tommy becomes a clueless clown to a crew that is, in the context of the film’s comedic context, entirely comprised of straight men.
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Using an adaptation of “The Disaster Artist” that is more concerned with the comedy than with the heart or the perspective, the story takes select tidbits from the real-life sets, resulting in unbelievable comedy, with recognizable faces (Seth Rogen, Paul Scheer, Jacki Weaver, Josh Hutcherson, Ari Graynor, Nathan Fielder) being placed in the vision of Wiseau through Franco’s recreation. And the second half of the film is amusing in large part due to the fact that “The Room” is amusing. As a result, when actors come in dressed as ridiculous characters, it provides a special boost and provides the most inspired moments. Inspiring casting decisions such as Nathan Fielder as the snobbish psychologist Peter or Jacki Weaver’s famous line “I got the results of the test back” “I have breast cancer, without a doubt.” There are guaranteed laughs just by looking at who is playing who, such as Josh Hutcherson sporting Denny’s floppy-parted hair.
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It’s easy to see why Franco would be drawn to this particular undertaking. He and she are both world-traveling artists, as well as directors who prioritize ambition over all other considerations. It’s all the more disappointing to see that the film, aside from Franco inserting Wiseau’s filmmaking into the Franco kaleidoscope, has little of its own perspective. As the story progresses, there is a distinct lack of critical quality to it, as it touches on the film’s many quirks while leaving them alone. When Tommy’s misogyny is on display during a scene of filming (laughing about a woman getting beaten up and sent to the hospital despite being told over and over again not to) it is a turning point in the story “”The Disaster Artist” isn’t concerned with what’s beneath the surface. The movie does attempt to analyze “The Room” at one point, but it’s just one of many cheesy and obvious gags in which a funny person is tasked with spoon-feeding the audience (in this case, it’s June Diane Raphael, who’s usually hysterically funny).
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Franco the Actor triumphs over Franco the Director by a wide margin. As an actor in front of the camera, he has the voice, which has a strange amalgam accent that sometimes comes across as simply airy ditzy-ness. Sometimes his stoic expression can be heartbreaking, as he is lost in this valley of being both self-conscious and completely unaware of his own existence at the same time. Franco the storyteller, on the other hand, fails this character by taking the easy route. Segments are played solely for the purpose of making the audience laugh at his accent or the fact that he can’t remember his lines, without delving into the reasons for his stubbornness.
While the film’s heart is larger than it should be, the potential of “The Disaster Artist” is not fully realized, either in the original source material or in the film itself. The film’s handling of the friendship arc continues to be hit-and-miss, and the film’s ending, which is the strangest of its kind since Danny Boyle’s “Steve Jobs,” egregiously shortens the film’s natural, long ascent into cult status.
While much has been said about whether or not those who are unfamiliar with “The Room” will enjoy this work, it is possible that the opposite is true—that they will “”The Disaster Artist” made me consider whether or not I adored “The Room” a little too much. However, as the movie began to fade away, aside from the novelty of seeing famous people recreate one of my favorite films, it began to become more apparent that it was no longer a must-see. I consider Wiseau to be an artist, and his film to be one that was created from a single vision, despite the fact that it contains a number of questionable choices. All of this makes for an enthralling true Hollywood story along the lines of what Tim Burton did for “Ed Wood,” but the “Plan Nine” director emerged from that film with a newfound sense of purpose as a passionate creator. By the end of “The Disaster Artist,” Wiseau is still regarded as a laughing stock.
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