Never Again

A Movie Co. presentation of a Five Minutes Before the Miracle production.
Produced by Terence Michael, Dawn Wolfrom, Bob Kravitz. Directed, written by
Eric Schaeffer.

Christopher Roland - Jeffrey Tambor
Grace Minor - Jill Clayburgh
Alex - Michael McKean
Elaine - Caroline Aaron
Natasha - Sandy Duncan
Earl - Bill Duke

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 By JOE LEYDON

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And now for something completely different: Writer-director Eric Schaeffer,
heretofore best known for pix about slackers-turned-moviemakers ("My Life's
in Turnaround") and unlucky-in-love twentysomethings ("If Lucy Fell"), aims
at an older demographic with "Never Again," a hugely enjoyable romantic
comedy that dares to suggest that love can bloom -- and, more important,
hormones can rage -- after 50. Smart, sassy and slickly packaged indie
production could score impressive midrange B.O. with savvy marketing.
Ancillary prospects are solid, especially if favorable word of mouth
spreads.

Veteran character Jeffrey Tambor (HBO's "The Larry Sanders Show") and Oscar
nominee Jill Clayburgh are perfectly cast as commitment-averse New Yorkers
who can't help falling love. It takes a tad too long for them to meet cute,
and the setup scenes that precede their first encounter are slightly
labored. Once he brings his leads together, however, Schaeffer wisely gives
them plenty of opportunities to generate potent chemistry.

Christopher Roland (Tambor), a soft-spoken exterminator who moonlights as a
jazz musician, has never been able to sustain a long-term romantic
relationship -- he was briefly married 30 years ago-- and usually ends his
affairs before too many strings are attached. Much to his embarrassed
confusion, he finds himself atypically unable to perform during a one-night
stand with a younger woman.

Later in the evening, he has an ambiguous dream about a surprise ride with a
hot stud. That's all it takes for Christopher to start questioning his
sexual orientation.

Befuddled and curious, Christopher attempts to make contact with a
transsexual prostitute. (As he explains to his partner in a jazz duo, a
"chick with a dick" might help him make the "transition" to a gay
lifestyle.) But the hooker (played with fey mischievousness by Michael
McKean) isn't quite what he/she advertised, so Christopher tries his luck at
a gay bar. Which, in the off-kilter world of "Never Again," is precisely the
right place for a guy to meet the woman of his dreams.

Divorcee Grace Minor (Clayburgh) is underemployed as a social worker and
unfulfilled as a sexually responsive woman. She follows the advice of her
best friends (Caroline Aaron, Sandy Duncan) and sets up a blind date on the
Internet. But the first meeting is a fiasco, leading Grace to seek refuge in
the closest bar. Thus, she's in the right place at the right time to meet
Christopher.

Despite their immediate attraction, the couple vows right from the start to
maintain a casual, no-strings relationship. But their resolve begins to melt
shortly after they get horizontal and discover, much to their astonished
delight, how sexually compatible they are.

To his credit, Schaeffer doesn't try to wring cheap laughs from the
exuberant copulating of his frisky fiftysomethings. If the audience guffaws,
that's only because we're invited to share the joy of the couple's
rediscovery. Grace appears particularly radiant, whether she's rolling and
tumbling with Christopher or discussing his prowess with her intimates.
During one of the pic's most amusing scenes, set in a beauty parlor, Grace
regales her girlfriends with a graphically detailed account of Christopher's
talent for cunnilingus.

An even funnier scene -- indeed, a scene of such artfully sustained hilarity
that it's probably an instant classic -- is cued by the couple's playful
willingness to experiment with kinky accessories. Grace impulsively dons an
immense rubber phallus just before Christopher drops by at lunchtime.
Unfortunately, Christopher shows up with his mother.

Schaeffer has never shied away from such naughty bits -- remember, this is
the same guy who had characters talking about anal stimulation in "My Life's
in Turnaround." In "Never Again," however, there's an unforced, even
understated quality to the raunchy stuff, just as there's a no-big-deal tone
to pic's rendering of sexually active folks in their 50s. This
matter-of-fact approach is more typical of sophisticated French comedies
than American-made laugh riots, which serves to make "Never Again" an even
more pleasant surprise.

Clayburgh is sensationally appealing as a character who could be viewed as
an older but wiser variation of her role in "An Unmarried Woman."
Inevitably, "Never Again" tries to delay aud gratification by manufacturing
a breakup before a last-minute make-up. Schaeffer strives to freshen this
stale convention by affecting the reconciliation with a frankly ridiculous
(and self-consciously contrived) plot twist. The trickery doesn't quite
work, but never mind: Clayburgh handles the teary emotional rigors of the
temporary separation as deftly as she glides through the funny business.

Tambor flavors his delightfully droll performance with a touch of
melancholy, suggesting more sadness than cowardice when Christopher begins
to think that his affair with Grace is too good to last. During lighter
moments, he evidences a teddy-bearish charisma and perfect-pitch comic
timing. In addition to working so well opposite Clayburgh, Tambor develops a
dryly witty give-and-take with co-star Bill Duke, who plays Christopher's
jazz partner.

Tech values indicate Schaeffer has come a long, long way from the grunginess
of "My Life's in Turnaround." Tom Ostrowski's color lensing and Amanda
Kravat's musical score are key ingredients in this tasty mix.

Camera (color), Tom Ostrowski; editor, Mitch Stanley; music, Amanda Kravat;
production designer, John Nyomarkay; costume designer, Eden Miller; sound,
Matt Siegel; assistant director, Paul Epstein; casting, Adrienne Stern.
Reviewed at South by Southwest Film Festival (Special Screenings), Austin,
Texas, March 13, 2001. Running time: 90 MIN.
 
 

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