When Oliver Stone
mishandled Michael Caine
by David Benjamin
MADISON, Wis. — In my newspaper days as editor of a Massachusetts weekly, the Mansfield News, I
probably had too much fun. There was, for example, a summer day in 1981
when I needed to fill space in “Expeditions,” my culture column. So I
took Bill Breen, high-school cub reporter, to the movies. Bill recently
sent me the tearsheet…
Director Oliver Stone has done it. Mano a mano, he has met the ages-old challenge of convincing an audience to take seriously the adventures of a disembodied hand.
No one has accomplished more in this endeavor since Señor Wences offhandedly
drew a face over his thumb and forefinger and made it talk on “The Ed
Sullivan Show.” The thought of five little delinquent fingers creeping
around between our feet hasn’t been quite so terrifyingly handled since
Uncle Steve told “The Monkey’s Paw” story to a group of ten-year-olds,
including me, around the campfire at 4-H camp.
Stone’s movie, released last weekend, is called The Hand.
The title “character,” to say the least, is more cuticle than handsome.
The story is gripping. Director Stone is determined to make a film that
grabs the moviegoer and doesn’t let him go. And for good reason! After
all, the sequel possibilities are near at hand and numerous.
The next film in the series could be Second Hand, in which the title creature dies, only to be resurrected in Second Hand Rose.
Spinoffs and variations would ensue. The Foot could reveal at last how Rosemary Woods reached that fateful pedal and created Richard Nixon’s 18-minute gap. Next could come The Toe: The Life Story of Lou Groza. There could also be The Lip: The Saga of Leo Durocher. Then, The Head, the harrowing tale of a toilet that went berserk. In The Finger, the mutilated hero would be a proctologist.
There hasn’t been so much potential for films about body parts since the legendary Chesty Morgan starred in Deadly Weapons.
The Hand
crafts the story of a cartoonist, played without much animation by
Michael Caine. He has troubles with his wife, who was once a veritable
handmaiden. But now she’s playing footsy with her yoga instructor.
In
the midst of this marital sparring, there’s an automobile accident (a
clutch failure is suspected) in which cartoonist Caine loses his drawing
hand. From this point on, Caine’s life becomes so touch-and-go that he
turns into a prosthetic figure.
Meanwhile, back in a digitalis
patch in upstate Vermont, the disembodied hand begins to tingle with
newfound purpose. It takes on the job of manipulating Caine’s inner
feelings. It will be Mr. Hand to Caine’s Dr. Jekyll.
Subliminally
kneed and muscled by the hand, Caine begins to wreak revenge on his
enemies — remotely. His fingers do the whacking.
Caine’s life,
however, isn’t as palmy as once it was. Despite his singlehanded
efforts, he can’t hold a job. Thumbing his way west, he unwittingly
transports his stowaway hand. He takes a job at a seedy manual arts
college in California. There, he scratches out a hand-to-mouth
existence, proudly refusing handouts. But it isn’t easy. Just trying to
make a simple meal of Hamburger Helper, he’s all thumbs. His only relief
comes in the form of an amorous coed with magic fingers, who soon has
Caine eating out of her hand. But inevitably, the relationship is
handcuffed by the sinistral attentions of the hero’s missing parts.
In
the climax, which crawls along at a nail’s pace, Caine’s severed
fingers gain the upper hand. Mr. Hand becomes unmanageable, strangling
people left and right. Caine’s bodiless meathook is caught in the act of
manhandling Caine’s wife. But does the hand get the blame? No! Caine’s
own daughter fingers him.
Eventually, Caine becomes a hopeless neurotic, handled — with kid gloves — by a psychiatrist.
The Hand,
indeed, is a flick best handled with rubber gloves — better yet,
forceps. Novelist Marc Brandel is the initial culprit, supposedly
inspiring this film with a book called The Lizard’s Tail. Stone’s
offshoot tries to terrify but only tickles. One suspects that Brandel
has by now washed his hands of the whole enterprise.
Until you’ve
seen it, you can’t fully appreciate the idea of an armless hand
maneuvering around underfoot, scurrying beneath the furniture, lying in
wait to grab its victims by the neck and wave its wrist menacingly.
One accidentally funny scene depicts Caine groping around a field, looking for his truncated career, while you-know-who sits on his hangnails,
watching from a safe distance. The audience can ‘t help but chuckle at the scene’s heavy-handed irony.
Stone,
in this film, misplayed his hand by not going for laughs. Instead, he
has fashioned an unintended farce, badly in need of a manicure.
Tuesday, July 7, 2015
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