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      ‘Down With Love’ 20 Years Later: Celebrating the Phoniness of Rom-Coms

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      The 2003 box office flop has been embraced by a younger generation that understands the role-playing nature of courtship.Twenty years ago, before the retro-chic sex comedy “Down With Love” was released in American theaters, the anticipation was high. The Tribeca Film Festival, then in its second year, made the film its flashy opening-night selection. Cheeky promotional images of its two stars were ubiquitous: Renée Zellweger was a bona fide It Girl following the success of “Bridget Jones’s Diary” (2001) and “Chicago” (2002); and Ewan McGregor was riding high after the one-two punch of “Moulin Rouge” (2001) and “Star Wars: Episode II — Attack of the Clones” (2002).Then the film flopped.Directed by Peyton Reed with a script by Eve Ahlert and Dennis Drake, “Down With Love” (available to rent on most major streaming platforms) is quite unlike the rom-coms of the time. It is a postmodern throwback to the midcentury sex farce: namely, “Pillow Talk” (1959) and “Lover Come Back” (1961), saucy battles of the sexes starring Rock Hudson and Doris Day. Roger Ebert approved of the new comedy, but most critics shrugged at what they considered a fluffy homage to a much better thing.Day and Hudson in “Pillow Talk.” Critics compared “Down With Love” unfavorably with the earlier comedy.Universal PicturesAudiences in the United States didn’t show up either, proving that the bedroom of yore meant little to the average 21st-century spectator. The film cost $35 million to make and ended its domestic run with about $20 million. By contrast “How to Lose a Guy in 10 Days,” another rom-com released that year, received $105 million; “Something’s Gotta Give,” $124 million.In 2003, the golden age of the rom-com was in flux. The heavyweight titles of the previous decade, a chunk of them directed by Nora Ephron (“Sleepless in Seattle,” “You’ve Got Mail”) or led by Julia Roberts (“Pretty Woman,” “Notting Hill”), balanced realism and fantasy, injecting modern sensibilities and gloriously messy women into the cheesy happily-ever-after formula. With these, the studios hit pay dirt, and (per usual), they reacted by increasing their output through the aughts.“We always knew it was going to be a bit of a marketing challenge,” Reed told me in a video interview about “Down With Love.” He added, “The whole point of it was that it wasn’t supposed to feel like every other contemporary romantic comedy. So we leaned into that difference with the distinctive sets and the built-in artificiality.”Before “Down With Love,” Reed had directed the cheerleading competition comedy “Bring It On,” a sleeper hit that was playfully but thoughtfully constructed: the routines featured Busby Berkeley-style choreography, and one sequence involving a pill-guzzling dance instructor referenced Bob Fosse’s “All That Jazz.” No wonder that when Reed came across Ahlert and Drake’s script, he was immediately drawn to its throwback spirit and visual specificity. “Without making a musical, I loved the idea of this very stylized comedy, where the camera and the production design and the wardrobe shapes the humor,” he said.“Down With Love” takes its beats from the Hudson-Day comedies, but it winks back at dozens of cinematic confections from that period. Like Natalie Wood in “Sex and the Single Girl” (1964), Zellweger’s Barbara Novak pens a global best seller urging women to treat sex cavalierly, as men do, and forget about the ring. McGregor’s Catcher Block — the “James Bond of men’s journalism” — enjoys a packed schedule of booty calls. He makes his dashing first appearance by chopper, descending upon the Know magazine headquarters straight from his latest champagne-fueled all-nighter. His breed of manly man is imperiled by Novak’s treatise, so, in the guise of a prudish astronaut from Texas, he courts the enemy to fuel a hit piece proving that her feminism is a front.Sarah Paulson, left, and Zellweger in just a few of the looks that made the film snap. Merrick Morton/20th Century Fox and Regency EnterprisesThe film is a ’60s period piece bound up in a bawdier, more sexually explicit package than that of its predecessors, with Novak and her chainsmoking agent-cum-bestie, Vikki (Sarah Paulson) canoodling around town like the ladies of “Sex and the City.” And the clothes! Ah, the clothes are marvelous. It’s a glamorous parade of kitten heels and kooky hats, fringe dresses and fur-trimmed silk robes. The costumes change at the speedy clip of the film itself, which takes Barbara, Catcher, Vikki and Catcher’s lovesick editor, Peter (David Hyde Pierce), through a series of switcheroos and prankish plot reversals that give the ladies the edge. While the film’s sexual innuendo-laden banter and exuberant color schemes seem to recall Austin Powers movies, well, this has more grace and bubbly femininity than those crude parodies.“Down With Love” followed another old Hollywood-meets-new production, “Far From Heaven” (2002), Todd Haynes’s ode to the Technicolor melodramas of Douglas Sirk. Before “Mad Men” landed on television in 2007, offering up a seductively slick skewering of the American dream, “Down With Love” and “Far From Heaven” both employed lush nostalgic aesthetics while questioning American culture’s sentimental relationship to the past. Haynes’s film was rightfully lauded; “Down With Love,” as we know, was not. Like another misunderstood and promptly derided rom-com from that year, Joel and Ethan Coen’s “Intolerable Cruelty” — a Hepburn-Tracy-like screwball revenge-romp — its style too radically broke with the mold of a genre beloved for its consistency.Reed’s bubble-gum tribute is all snappy wordplay and tongue-in-cheek jabs, but there’s an extravagant phoniness to it all, too, that calls attention to its imaginary trappings. Cartoonish rear projections of the Manhattan skyline, split-screen phone calls that mirror sex acts, and routine breaks of the fourth wall give the film the feel of a pop product that understands its own game, and throws it into a state of hyperreality.There’s an extravagant phoniness to the film that calls attention to its imaginary trappings.Merrick Morton/20th Century Fox and Regency EnterprisesMischievously self-aware, it points to the contrivances that uphold modern romance, the games of scheming and flirting that we find so pleasurable and easy to play along with, despite their phony and potentially regressive underpinnings. The film pokes fun at retrograde ideas about sex and sexuality. Peter, for instance, a softy who yearns to be, essentially, a stay-at-home dad, is repeatedly mocked for being a closeted gay man. He’s not, but the gag is that everyone around him can’t make sense of a man who doesn’t fit the role he’s supposed to play.“This would be really hard to make now. Rom-coms are supposed to be cheap and this had a high production value — $35 million? Studios don’t make these films at that price point anymore,” Reed added.Indeed, the screwball spirit is in short supply these days. The lifeless “Ticket to Paradise” failed to resurrect the punchy him-against-her dynamic of rom-coms past, and, for the first half-hour at least, the Lindsay Lohan vehicle “Falling for Christmas” takes on the flamboyantly fake style and deliciously ludicrous plotting of a fizzy farce from the ’30s before beelining into tedious moralizing.No wonder “Down With Love” has become something of a cult item, its meta-referential charms perhaps more apparent to a younger, queerer generation that better understands the role-playing nature of gender and romantic courtship. I recall seeing the film projected without sound at a bar-turned-dance club in Washington, D.C. In February, at a packed Valentine’s Day-themed screening of the film in Brooklyn, the giddy audience was uninhibited with their oohs and aahs.The film mocks, but it also transports with its eye-candy visuals and coy performances, reminding us that a suspension of reason is required to perform gender, to be sucked into a rom-com and, even, to fall in love. More

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      ‘Dealing With Dad’ Review: A Family Dysfunction

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      A fragmented family reunites to help their depressed patriarch in this surprisingly lighthearted film about serious subjects.“Dealing With Dad,” a low-budget indie from the writer-director Tom Huang, is a surprisingly lighthearted movie about two serious subjects: generational trauma and chronic depression. It tells the story of three siblings — the high-strung workaholic Margaret (Ally Maki), the layabout comic book nerd Larry (Hayden Szeto) and the timid, recently-separated Roy (Peter S. Kim) — who must return to their family home to help care for their father (Dana Lee), disconsolate and bedridden after being laid off from his lifelong job. Though concerned for him, the kids are conflicted, having suffered at their father’s somewhat tyrannical hands growing up. The film is at its most compelling when tackling this tension between care and resentment head-on — it has a ring of truth that’s sadly squandered whenever Huang reaches for easy laughs.The comedy isn’t spiky and tightly wound up around the darker material, as it is in, say, “Welcome to the Dollhouse,” “Heathers” or “Little Miss Sunshine.” Rather the humor is glib and fatuous, with the broad, clichéd tone of an old-fashioned network sitcom. Lame fat jokes, gags about someone being gender-fluid and outdated punch lines about “American Idol” and Tucker Max abound.At one point, the siblings dine out at an ostensibly upscale restaurant, and there are over-the-top complaints about arugula on pizza. It wouldn’t have been funny in 2005, when fancy-food jokes were at least less stale. In a modern film about a family’s strained efforts to manage their patriarch’s mental illness, however, it demonstrates a critical misunderstanding of the material’s strengths. The family is hurting. Dumbing them down doesn’t help.Dealing With DadNot rated. Running time: 1 hour 46 minutes. Rent or buy on most major platforms. More

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      Yogi Berra on the Field: The Case for Baseball Greatness

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      A new documentary argues that the Yankee catcher was not just a malaprop-prone, beloved celebrity but also a legend of the game.In the latest edition of Bartlett’s Familiar Quotations, there’s a sports figure who towers over the competition.Among the nine sayings attributed to one Lawrence Peter Berra, the New York Yankees catcher better known as Yogi, are phrases that may seem nonsensical at first, but on further reflection offer wisdom for the ages.“You can observe a lot by watching.”“It was déjà vu all over again.”And of course, there’s “It ain’t over till it’s over,” which provides the title for a new documentary about Yogi’s life.“It Ain’t Over” aims to be a corrective to the caricature implanted in the cultural consciousness of Yogi as an amiable clown, a malaprop-prone catcher who looked as if he were put together with spare parts. But Yogi was not only a cuddly pitchman for insurance, beer and chocolate milk, an inspiration for a certain cartoon bear, and a stand-up guy beloved by teammates; he was, the film argues, one of the best baseball players who ever lived.“This guy was criminally overlooked his whole life, at every stage,” said Sean Mullin, the film’s director.The documentary, which opens Friday, is intensely personal, tapping the eldest of Yogi’s 11 grandchildren to serve as a narrator with no pretense to objectivity in fighting for her grandfather’s legacy.It was a relatively recent slight that encapsulates the film’s defining thesis and yields the opening scene. During the All-Star Game in 2015, Major League Baseball honored the four players voted by fans as the greatest living legends. Watching that night with her grandfather, Lindsay Berra remembers becoming infuriated that Yogi had not made the cut. The director Sean Mullin and Lindsay Berra, Yogi’s granddaughter, say the Yankee’s prowess has been “criminally overlooked.” Evelyn Freja for The New York TimesMullin and Lindsay Berra, in separate interviews, emphasized that they meant no offense to the four greats honored that night — Willie Mays, Hank Aaron, Sandy Koufax and Johnny Bench. They just fervently believe that Yogi should have been the fifth man walking on the field that night in Cincinnati.“I always thought from the beginning that I figuratively wanted to put Grandpa back in the picture with the documentary,” said Lindsay Berra, who is an executive producer on the film.The filmmakers marshal the statistics and an impressive array of former players and other baseball experts to back up their claim. Yogi — who died in 2015 at 90 — was a core part of 10 World Series championship teams as a player, more than anyone else. He won three Most Valuable Player awards, played in All-Star games in 15 straight years and in 1956 caught the only perfect game in World Series history. And only two major leaguers have ever hit more than 350 home runs while striking out fewer than 450 times: Joe DiMaggio and Yogi.The statistic that most impresses Lindsay Berra comes from 1950. That season, Yogi went to the plate 656 times and struck out just 12 times: “That to me will always be astonishing, because guys today strike out 12 times in a weekend.”Yogi Berra leaping into the arms of pitcher Don Larsen after the only perfect game in a World Series, in 1956.Associated PressAll this passionate lobbying is not mere special familial pleading. Jon Pessah, who wrote the 2020 biography “Yogi: A Life Behind the Mask” (and is not in the film), said the idea that Yogi’s baseball prowess has been overlooked “is 100 percent true.”Besides the hitting feats, Yogi willed himself into becoming a terrific defensive catcher and was expert at guiding his temperamental pitchers. (During Don Larsen’s perfect game in the 1956 World Series, he did not shake off one of the 97 pitches Yogi called.)“After studying his career, you say, wow, this guy carried the Yankees in the ’50s,” a decade that bridged DiMaggio and Mickey Mantle, Pessah said. “You look at what he meant on the field and at the plate, he was a force.”The unfair, and incomplete, perception of Yogi has much to do with his stubby stature and comparisons with his famous teammates. DiMaggio was slick and polished, and married to Marilyn Monroe; Mantle was the blue-eyed, golden-haired, all-American boy from Oklahoma. Yogi — well, no demeaning or belittling description seemed off-limits to the writers who covered him. Early in his career, a Life magazine article referred to him as “knock-kneed” and “barrel-shaped,” and likened his running style to that of “a fat girl in a tight skirt.” That was all in one sentence.His first manager called him an ape. In newspaper and magazine articles, Yogi’s looks were compared to those of a gargoyle, a gorilla and an orangutan.“Can you imagine reporters writing today that someone looked like a gorilla and was too ugly to be a Yankee?” Lindsay Berra said. But Yogi ultimately didn’t mind playing the butt of jokes, sloughing them off as just another test of character. “I think he knew inside who he was,” Mullin said. “There was a real confidence at a very base level.”Growing up the fourth child of Italian immigrants in St. Louis, Yogi quit school after eighth grade to help support his family, although he pretty much just wanted to play baseball. Constantly underestimated, he ultimately signed with the Yankees. He was drafted during World War II and was in a rocket boat at Omaha Beach on D-Day.Back from the war, he played on a Yankees farm team for a year before being called up late in the 1946 season. He was in the majors for good.As seen in the documentary, from left: Larry, Tim and Dale Berra, sons of the Yankee great. Dale said it was stern words from his father that helped him kick a cocaine addiction.Daniel Vecchione/Sony Picture ClassicsWhile proving naysayers wrong with his hitting prowess and improving defense, he also displayed deep-seated integrity. At a time when racism still thrived in Major League Baseball despite Jackie Robinson integrating the game in 1947, Yogi showed respect to Robinson and other Black players; he later became very good friends with Larry Doby, the first Black player in the American League.But a charmed life — he also had a storybook marriage to his hometown sweetheart, Carmen — does not make for the most dramatic of films.To add some texture to his portrait, Mullin examined both Yogi’s larger cultural significance and his personal pain.Yogi became one of the first celebrity endorsers, hawking the chocolate milk drink Yoo Hoo, Doodle fish oil, Camel cigarettes and, really leaning into the persona later in life, Miller Lite and Aflac insurance. “He never resented the way he was viewed but he was savvy enough to know it made business sense,” Pessah said.Yogi’s son Dale followed him into the majors, but a promising career was derailed by a cocaine addiction. Rehab didn’t help, and neither did encouragement from his family. It took an ultimatum, delivered by Yogi, at an intervention in 1992.“You’re not going to be my son anymore unless you make a decision to not do drugs again,” Dale Berra said his father told him. He has been clean since.The other deep wound in Yogi’s life came in 1985, inflicted by the Yankees owner George Steinbrenner. Serving as manager for Steinbrenner was a decidedly unsafe proposition, and 16 games into Yogi’s second season, he was fired. What angered Yogi most wasn’t the firing, it was that Steinbrenner didn’t have the guts (or decency) to deliver the blow himself. Yogi, always a man of his word, vowed never to return to Yankee Stadium until Steinbrenner apologized.It took nearly 14 years before a rapprochement was brokered, leading to Yogi Berra Day at the stadium in July 1999. Forty-three years after the World Series perfect game, Don Larsen was reunited with his former battery mate to throw out the ceremonial first pitch.Yogi didn’t have a glove with him, so he borrowed one from Joe Girardi, a Yankees catcher at the time. Those there that day still marvel at what they then witnessed. David Cone proceeded to pitch another perfect game for the Yankees. A life well lived had its magical coda. More

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      Hollywood Writers Strike Is ‘Going to Be a While’

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      The writers and entertainment companies remain far apart on several key issues, including money, and the standoff could last for months.It’s not just posturing: As screenwriters continue their strike against Hollywood companies, the two sides remain a galaxy apart, portending a potentially long and destructive standoff.“Any hope that this would be fast has faded,” said Tara Kole, a founding partner of JSSK, an entertainment law firm that counts Emma Stone, Adam McKay and Halle Berry as clients. “I hate to say it, but it’s going to be a while.”The Writers Guild of America, which represents 11,500 screenwriters, went on strike on Tuesday after contract negotiations with studios, streaming services and networks failed. By the end of the week, as companies punched back at union in the news media, and striking writers celebrated the disruption of shows filming from finished scripts, Doug Creutz, an analyst at TD Cowen, told clients that a “protracted affair seems likely.” He defined protracted as more than three months — perhaps long enough to affect the Emmy Awards, scheduled for Sept. 18, and delay the fall TV season.The W.G.A. has vowed to stay on strike for as long as it takes. “The week has shown, I think, just how committed and fervent writers’ feelings are about all of this,” Chris Keyser, a chair of the W.G.A. negotiating committee, said in an interview on Friday. “They’re going to stay out until something changes because they can’t afford not to.”The Alliance of Motion Picture and Television Producers, which bargains on behalf of studios, streaming services and networks, has maintained that it hopes “to reach a deal that is mutually beneficial to writers and the health and longevity of the industry.” Privately, however, member companies say they are prepared to weather a strike of at least 100 days. The most recent writers strike, which began in 2007 and ended in 2008, lasted that long.“It’s fair to say there’s a pretty big gap,” Bob Bakish, chief executive of Paramount Global, told analysts and investors on a conference call on Thursday. Paramount and its CBS subsidiary are prepared to “manage through this strike,” he added, “even if it’s for an extended duration.”Among the writers’ demands is that studios not let artificial intelligence encroach on writers’ credit or compensation.James Estrin/The New York TimesBoth sides have insisted that the other needs to make the first move to restart talks. None are scheduled. For the moment, media companies have turned to contract renewal negotiations with the Directors Guild of America, which start on Wednesday. That contract expires on June 30.Like writers, directors want more money, especially regarding residual payments (a type of royalty) from streaming services, which have rapidly expanded overseas. Before streaming, writers and directors (and other creative contributors, including actors) could receive residual payments whenever a show was licensed, whether that was for syndication, an international deal or DVD sales. In the streaming era, as global services like Netflix and Amazon have been reluctant to license their series, those distribution arms have been cut off.In addition to raises, however, writers want media companies — Netflix, in particular — to make structural changes to the way they do business. The companies — Netflix, in particular — say that is a bridge too far.The W.G.A. has proposals for mandatory staffing and employment guarantees, for instance. The union contends that the proposals are necessary because entertainment companies are increasingly relying on what is known in Hollywood slang as a miniroom. In one example of a miniroom, studios hire a small group of writers to develop a series and write several scripts over two or three months. Because they have not officially ordered the series, studios pay writers less than if they were in a large, traditional writers’ room.And given the relatively short duration of the position, those writers are then left scrambling to find another job if the show is not picked up. If a show does get a green light, fewer writers are sometimes hired because blueprints and several scripts have already been created.“While the W.G.A. has argued” that mandatory staffing and duration of employment “is necessary to preserve the writers’ room, it is in reality a hiring quota that is incompatible with the creative nature of our industry,” the studio alliance said in a statement on Thursday.Writers responded with indignation. “We don’t need the companies protecting us from our own creativity,” said Mr. Keyser, whose writing credits include “Party of Five” and “The Last Tycoon.” “What we need is protection from them essentially eliminating the job of the writer.”Writers also want companies to agree to guarantee that artificial intelligence will not encroach on writers’ credits and compensation. Such guarantees are a nonstarter, the studio alliance has said, instead suggesting an annual meeting on advances in the technology. “A.I. raises hard, important creative and legal questions for everyone,” the studios said on Thursday. “It’s something that requires a lot more discussion, which we have committed to doing.”Mr. Keyser’s response: Go pound sand.“This is exactly what they offered us with the internet in 2007 — let’s chat about it every year, until it progresses so far that there’s nothing we can do about it,” he said. In that case, have fun on the picket lines, studio executives have said privately: It’s going to be hot out there in July.Over the last week, media companies conveyed an air of business as usual. On Thursday, HBO hosted a red carpet premiere for a documentary, while the Fox broadcast network announced a survivalist reality show called “Stars on Mars” hosted by William Shatner.“3 … 2 … 1 … LIFT OFF!” the network’s promotional materials read.With the exception of late-night shows, which immediately went dark, Mr. Bakish assured Wall Street, “consumers really won’t notice anything for a while.” Networks and streaming services have a large amount of banked content. Reality shows, news programs and some scripted series made by overseas companies are unaffected by the strike. Most movies scheduled for release this year are well past the writing stage.Shares climbed on Friday for every company involved with the failed contract talks; investors tend to like it when costs go down, which is what happens when production slows, as during a strike. If the strike drags into July, analysts pointed out, studios can exit pricey deals with writers under “force majeure” clauses of contracts.“The sorry news for writers is that, in declaring a strike, they may in fact be helping the streaming giants and their parent companies,” Luke Landis, a media and internet analyst at SBV MoffettNathanson, wrote in a report on Wednesday.Writers, however, succeeded in making things difficult for studios over the first week. Apple TV+ was forced to postpone the premiere of “Still,” about Michael J. Fox and his struggle with Parkinson’s disease, because Mr. Fox refused to cross a picket line. In Los Angeles, writers picketed the Apple TV+ set for “Loot,” starring Maya Rudolph, causing taping to halt. In New York, similar actions disrupted production for shows like “Billions,” the Showtime drama. Other affected shows included “Stranger Things” on Netflix, “Hacks” on HBO Max and the MTV Movie & TV Awards telecast on Sunday, which went forward without a host after Drew Barrymore pulled out, citing the strike.“The corporations have gotten too greedy,” Sasha Stewart, a writer for the Netflix documentary series, “Amend: The Fight for America” as well as “The Nightly Show With Larry Wilmore,” said from a picket line last week. “They want to break us. We have to show them we will not be broken.”Writers went into the strike energized. But a rally at the Shrine Auditorium in Los Angeles on Wednesday seemed to supercharge the group, in part because leaders from other entertainment unions turned out to support them — and in fiery fashion. During the 2007 strike, writers were largely left to stand alone, while a union representing camera operators, set electricians, makeup artists and other crafts workers blasted the writers for causing “devastation.”Ellen Stutzman, chief negotiator for the writers, received a standing ovation from the estimated 1,800 people who attended the rally. During the session, writers suggested expanding picket lines to the homes of studio chief executives and starting a public campaign to get people to cancel their streaming subscriptions.Some writers realized that Teamsters locals, which represent the many drivers that studios rely on to transport materials (and people), would not cross picket lines. So they started to picket before dawn to intercept them. (The W.G.A. has advised a 9 a.m. starting time.) At least one show, the Apple TV+ dystopian workplace drama “Severance,” was forced to shut down production on Friday as a result of Teamsters drivers’ refusing to cross. More

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      Book Review: ‘The Making of Another Modern Motion Picture Masterpiece,’ by Tom Hanks

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      Whimsically chronicling the creation of a Marvel-style movie, “The Making of Another Major Motion Picture Masterpiece” sags under a deluge of detail.THE MAKING OF ANOTHER MAJOR MOTION PICTURE MASTERPIECE, by Tom Hanks. Illustrated by R. Sikoryak.Sidelined by the pandemic, some actors fired up ceramics or sang fragments of “Imagine.” Tom Hanks, one of the most prominent to contract an early case of Covid, bounced back by making a run at the Great American Novel. Alas, it is more Forrest Gump trotting from coast to coast than Sully landing on the Hudson.Titled “The Making of Another Major Motion Picture Masterpiece,” the book arrives at a crossroads for Hollywood. The Writers Guild of America went on strike this past week, seeking pay increases in an age of streaming and protections from that thundering Godzilla, artificial intelligence. The consequent halt of film and TV production deprives not only audiences, but also the vast number of workers required to get stories onscreen: extras, editors, costume and lighting designers, makeup artists, caterers, drivers, gofers, key grips.“Masterpiece” is a loving homage to those workers, a true insiderly ensemble piece in the vein of “The Player” (written by Michael Tolkin in 1988, directed by Robert Altman in 1992), or Quentin Tarantino’s eventually self-novelized “Once Upon a Time … in Hollywood.”Minus the murder and gore, of course — this is Tom Hanks.The novel also acknowledges a fading time when leading actors, even avatars of Everyman decency like the author, were royalty: their work shown not in living rooms but red-velvet-swagged “palaces.”It’s framed by one of the outlying courtiers of the industry: a fictional former freelance journalist and reviewer named Joe Shaw. Now teaching creative writing at a minor Montana college, he has been granted access to the set of “Knightshade: The Lathe of Firefall” — a movie based on a comic from a Marvel-like company — along with the Gay Talese-like superpower of narrative omniscience. He recedes after a foreword, like John Ray Jr. from “Lolita.”“Masterpiece” then pans very slowly — with lots of emphatic italics, arch ellipses and a few footnotes — over the full arc of the fake movie’s development. So we begin with the back story of the comic’s writer, Robby Andersen (pen-name TREV-VORR), who had been inspired by an uncle, Bob Falls, a Marine in World War II, and follow a very long yellow brick road through the seemingly triumphant release of “Knightshade” at a fancifully imagined 1,114-seat theater, the Grand Cinema Center in Times Square, where “a fellow in a tuxedo” plays “New York, New York” on a house organ.Charm abounds — again, this is Tom Hanks — but “Masterpiece” is too often a maddeningly excursive endeavor that made me think, more than once, of a Richard Scarry book without the drawings. Alternate titles: “Hollywood: Busy, Busy Town” or “What Do Movie People Do All Day?” (Actually, it does have drawings, by R. Sikoryak: an old-timey comic the boy Robby reads at the corner drugstore, then another he created while working at Kool Katz Komix as TREV-VORR, and then a movie tie-in for “Knightshade,” all fine places to rest one’s detail-wearied eyes.)The novel’s multitude of characters includes Bill Johnson, the writer-director of “Knightshade” (a film more “Iron Man” than “Avengers”); an obnoxious leading man named O.K. Bailey (OKB for short), who’s cast as Firefall; and Wren Lane, who wins the part of Eve Knight, the alter ego of Knightshade, a heroine who like many modern women has trouble sleeping.“Sure, she wants to make her bed with a decent chap when the time is right, but the time is never right!” Lane tells Johnson’s assistant, Allicia Mac-Teer, anachronistically (Hanksishly). “Nor is the chap.”Advised to go by “Al” because of sexism, the assistant gets hired after mastering a time management system at community college, “L.I.S.T.eN.,” short for “Let It Settle, Then eNact,” and using it to order Johnson his favorite frozen yogurt. (Pomodoro technique, move over.) Then there is Ynez Gonzalez-Cruz, driver for a Lyft competitor, PONY, whose ingratiation into the “Knightshade” base camp will eventually get her an office of her own and, after years of struggling in the gig economy, a salary that’s “a joke of abundance.”Moviemaking, Hanks would remind us, can be a rising tide, not in the depressing new climate change way, but the old optimistic American lift-all-boats way.He also conveys successfully that this “Business of Show” in the “City of Angles,” as Johnson nicknames it, is thoroughly exhausting, a realm where everyone is Wren Lane, waiting for the golden hour shot, showing up to get fake blood applied at 2 a.m. The word “coffee” appears, by my count, on 85 pages: triple espressos from a Di Orso Negro machine with frothed half-and-half for Mac-Teer; HaKiDo with oat milk for OKB; Pirate drip for a Teamster named Ace Acevido. Highly specific smoothies are fetched; catering tables are lovingly inventoried.“The offerings are both substantial, healthy snacks and stuff that is horrible for you but so very, very much appreciated,” our omniscient narrator shares. Sometimes “Masterpiece” reads like the thank-you speech Hanks, consummate nice guy, would give if granted unlimited time at the Oscars. You might admire its rah-rah spirit, yet still want to press fast-forward.A note on the type: Hanks has spoken and written extensively before, including in The New York Times, about his obsession with typewriters. A different antique model was featured in each of the 17 stories contained in his last book, a collection called “Uncommon Type.” Encountering a vintage Smith-Corona Sterling, Johnson’s chosen instrument, on Page 96 of “Masterpiece,” I rolled my eyes tolerantly.After turning 50 pages more and finding a minor character selling “Royals, Underwoods, Remingtons, Hermes, Olivettis, all in working order,”as if in an Etsy shop, I had to fight a strong urge to close the book, fire up a triple espresso and see if anything was happening in the tiny palace of my iPhone.THE MAKING OF ANOTHER MAJOR MOTION PICTURE MASTERPIECE | By Tom Hanks | Illustrated by R. Sikoryak | 499 pp. | Alfred A. Knopf | $32.50 More

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      Diane Keaton Likes a Messy Comedy

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      The Oscar-winning actress and one of the stars of “Book Club: The Next Chapter” makes friends when making movies and is trying to get to the beach.One of Diane Keaton’s new favorite pastimes is going for walks by herself, taking pictures of abandoned storefronts.“You can see sadness, but you can also look at the attempts that they made when they were selling whatever they were selling,” she said in a phone interview from her home in Los Angeles. “One place will look like one thing, and another, you could tell that it had clothes or some sort of fashion with it. It’s fascinating for me.”Keaton’s solitude is broken up by acting, which creates opportunities for her to make friends and meet new people, including on her latest movie, “Book Club: The Next Chapter.”Out Friday, it is a sequel to the 2018 film “Book Club,” and reunites Keaton and her friends, played by Jane Fonda, Candice Bergen and Mary Steenburgen. This time they are coming out of quarantine for a trip to Italy, and the movie is peppered with references to “The Alchemist,” Paulo Coelho’s best-selling novel about a young shepherd in search for treasure and his “personal legend.”“The movie’s fine,” Keaton said. “I did what I could, you know, sort of.”The 77-year-old Oscar-winning actress talked about Goodwill fashion, Miley Cyrus and tortillas. These are edited excerpts from the conversation.1Visual BooksI have a whole room full of visual books. They’re engaging in a way that moves me. Somebody recently sent me this amazing book of Lee Friedlander’s photographs, “Lee Friedlander Framed by Joel Coen.” It just takes me back to how the world looked — our world, our country, our cities and people’s homes.2FashionMy interest in fashion goes back to my mother. When I was in junior college, or even younger, and I was consumed by what people were wearing, there were other girls who had more money, and they were able to have clothes that I envied. My mom and I would go around to the Goodwill and we would buy old clothes — an old skirt, a blouse — and she would make it into a better version of that.3The BeachMy father loved the ocean. He would gather us together constantly to explore all kinds of places that have oceanfront. For almost a year, I’ve been trying to buy a beach house. It’s not like it’d be a grand beach house, but everybody’s holding on to their homes. If you go to Laguna Beach, which I love, you can’t buy anything.4FamilyI had this dinner with my children last night, and we were all together, and my daughter’s husband was there. It’s just wonderful that I have that opportunity. Even as a young adult, I really needed my mother and my father a lot. When I had problems, they were there, both of them. I loved them. They were very much an active part of my life.5Miley Cyrus and AsheThese are two really interesting young women who are taking over music, who I have been lucky to encounter and to get to know a little bit. I like both of these two young women because they’re both unique.6My Golden RetrieverI have a golden retriever named Reggie. Somebody gave her to me as a gift. Reggie’s been a bad girl today. I’m so happy that I have enough room out in the backyard for her to just destroy all the plants. Right, Reg? I love that dog. There are things that just take your heart and your breath away.7TortillasI like tortillas. I buy tortillas. Just the tortillas. I slap a bunch of stuff inside of it and I eat it and love it. I love tortillas.8ComediesI do feel more comfortable with comedy than drama. I like the mess of it and that it can kind of crop up on you and then you’re free to play around.9Movie TheatersIt’s been a while since I’ve been to the theater, but I love to go to movie theaters, and it’s been really interesting the way it’s just kind of fallen apart, but now it’s very slowly coming back. I love that. I’m glad it’s coming back.10My Collage WallI have a massive wall of images that I’ve cut out of magazines or that I’ve kept. Right now I’m looking at a picture I cut out of a magazine of Buster Keaton. It’s so great. What a beautiful face. One is of a truck that has a huge sign that these men are trying to hold onto that says, in large letters, “Damaged.” Go figure. More

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      Watch Joaquin Phoenix Make a Run for It in ‘Beau Is Afraid’

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      The writer and director Ari Aster narrates a sequence from his film, in which the lead character navigates his chaotic neighborhood.In “Anatomy of a Scene,” we ask directors to reveal the secrets that go into making key scenes in their movies. See new episodes in the series on Fridays. You can also watch our collection of more than 150 videos on YouTube and subscribe to our YouTube channel.In this early sequence from the bleak comedy “Beau Is Afraid,” the frame is packed with so many gags and references that’s it’s impossible to take them all in.But for the film’s writer and director, Ari Aster, that’s the point.This moment, which has Beau (Joaquin Phoenix) walking, then ultimately running, through his neighborhood, employs a technique called “chicken fat.” In an interview, Aster said that he learned of the term while making the film. Coined by the cartoonist Harvey Kurtzman in reference to the work of the illustrator Will Elder, it involves layering the background with as many visual jokes as possible. Here, that includes signs, graffiti, props and more.The philosophy behind the technique isn’t that everything should be seen, but “that the audience gets the sense of all the detail,” Aster said. “And I think that encourages an even deeper engagement because you see the amount of work that’s gone into building this world.”The scene is also packed with background players. Aster said that each one was “given very specific directives and very specific behavior.” As they pop up in subsequent scenes, they continue to exhibit the same behaviors.The sequence closes out with Beau sprinting down the street to make it to the front door of his building before being caught by his tattooed nemesis.Aster said that Phoenix “was only able to do this a few times because he hurt his ankle pretty early on. And by the time we were done shooting, he was limping around.”Read the “Beau Is Afraid” review.Read a story about a Mariah Carey song that appears in the film.Read an interview with Ari Aster.Sign up for the Movies Update newsletter and get a roundup of reviews, news, Critics’ Picks and more. More