From: ahall@sedona.intel.com (Andrew Hall)
Subject: REVIEW: HOFFA
Reply-To: ahall@sedona.intel.com (Andrew Hall)
Organization: Intel
Date: Thu, 7 Jan 1993 16:20:41 GMT
Followup-To: rec.arts.movies
Summary: r.a.m.r. #01673
Keywords: author=Hall

				   HOFFA
		       A film review by Andrew Hall
			Copyright 1993 Andrew Hall

     Picture the life of controversial Teamsters leader Jimmy Hoffa
through the eyes of Louie DePalma from TV's TAXI and you have HOFFA,
Danny DeVito's new film starring himself and Jack Nicholson.

     DeVito tells us Hoffa's story through the eyes of Bobby (DeVito),
Hoffa's right-hand man, who watches with admiration the labor leader's
rise from union agitator to president of the Teamsters.  They are close;
Bobby even goes to jail with Hoffa.

     While Jack Nicholson is absolutely amazing as Hoffa (if you've ever
seen newsreel footage of Jimmy Hoffa, you'd swear Nicholson *was*
Hoffa), DeVito has miscast himself terribly as Bobby.  Unfortunately,
DeVito has not established that he can play any character other than
himself, a character too familiar to moviegoers.  In a historical drama,
with Nicholson so convincing, DeVito as himself just stands out and
ruins the effect.  Nicholson's performance is diminished.

     Aside from his own miscasting, DeVito's Bobby is also far too big a
role in the film.  We see *every* shot of Hoffa through Bobby's eyes; in
fact, there are some scenes with Bobby *without* Hoffa.  Actually, if you
didn't know who Hoffa was (my non-American companion didn't), you might
have guessed that this was a film about Hoffa *and* Bobby.

     Sadly, this storytelling device just doesn't work in HOFFA.  A more
traditional "omniscient director" approach probably would have worked
much better.  Nicholson is so good, why not just let him run with it?

     Another plot device that is even worse is the flashback.  The
*whole movie* is a flashback from just before Hoffa disappears, the
"present" time of the film.  Unfortunately, DeVito keeps cutting back
from the "present" (which has it's own little subplot)  to Hoffa's life
as it unfolds.  These cuts disrupt the entire flow of the film.  DeVito
used this same approach in THE WAR OF THE ROSES, a comedy, where it
seemed to work better.  Again, the more traditional approach of just
letting the drama unfold from start to finish might have helped.  Or,
just making Hoffa's life one big flashback (with no disruptive subplot)
could have worked better, too.

     So what really happened to Jimmy Hoffa when he disappeared in 1975?
We still don't know, but DeVito gives us his best guess at the end of
the film.  Since we don't know, I would have preferred to have the film
end without this speculation.

     Some have complained that DeVito's film is far too sympathetic to
Jimmy Hoffa.  Hogwash!  These are the probably the same people who
condemned Oliver Stone for not making JFK a documentary.  A director
should be able to say whatever he wants in a film.  It's JUST a movie
for crying out loud!  It's entertainment.  We don't have to go see it.

     Despite it's flaws, HOFFA is certainly worth seeing just for
Nicholson's performance (although it helps to know a little about Hoffa
first).  And there are some neat camera moves and edits in the film that
make it hardly dull.  Still, Nicholson's acting could have been the
thread of a masterpiece instead of a disappointment.

- Andrew Hall

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