Out to Sea

Out to Sea (1997), directed by Martha Coolidge

Ambivalence in the movies can be a wonderful thing. Take The Day of the Jackal, for instance. In that film, we hope that the assassin does not succeed, yet we are so involved with his plans, that we also hope that he does. My ambivalent feelings for Out to Sea, however, are far less positive. Yes, we get a stellar cast assembled, with many fine character and comic actors of the over-sixty set. On th other hand, we have a screenplay so cliched and tired, I'm surprised Syd Field wasn't credited as a co-writer. So who wins the war, actors or screenplay? Let's just say that it's not a pretty fight.

Jack Lemmon and Walter Matthau are in-laws: Lemmon is the widower of Matthau's sister. Matthau, a moocher and gambler, takes them on a cruise ship where they will serve as dance hosts, despite his inability to dance. Matthau, of course, is on the make, with his eyes on the toothsome Dyan Cannon (she don't look like no grandmother to me, that's for sure), while Lemmon, still mourning his wife, fancies Gloria De Haven. Both Matthau and Lemmon are under the tyrranical thumb of cruise director Gil (Brent Spiner, with moustache and dorky accent).

The plot is the merest hackwork. For once in the Lemmon-Matthau collaboration, even the leads provide little pleasure. Perhaps appearing with each other so frequently of late has diluted their unique chemistry. On the other hand, many of the supporting players are dynamite. Elaine Stritch, as Dyan Cannon's mother, is hysterical: her usual cynical, raspy demeanor, with just a dash of oddball horniness. The other dancehosts are played by such luminaries as Hal Linden and Donald O'Connor (who is still quite the hoofer). Rue McClanahan doesn't amount to much as the cruise line owner, but there are enough fine supporting players already.

Brent Spiner is a major disappointment. He goes beyond over-the-top villainy straight into campiness. Is this a film of the 90's or a bad episode of Hogan's Heroes? One does not know who to blame for such a bizarre performance. Gloria De Haven is all right as Lemmon's amante: my only complaint is that the role calls for an Alexis Smith. Unfortunately, Miss Smith passed away some years ago, so Miss De Haven is an acceptable, if not ideal, substitute. Dyan Cannon is a joy as Matthaus prospective girlfriend. Not only does she look over 20 years younger than her actual age, but she is also at just the right level of frivolity.

The production values are quite fine, particularly the lighting. Cinematographer Lajos Koltai (veteran of many Istvan Szabo films) gives the whole film a warm glow, as if all the older actors in the film were dipped into a fountain of youth. Director Coolidge sets an acceptably amiable pace for the film. I find it hard to blame her for the film's shortcomings, which are more likely the fault of the screenwriter (nameless here to protect the guilty).

To conclude: I appreciate that Hollywood trusts Lemmon and Matthau to do a good job of an A-list feature film. I just wish they could work on a film better suited to their talents. Lemmon in Death of a Salesman, say, or both of them in Inherit the Wind, or in many of the works of O'Neill or Mamet. I think they've been paired in enough geriatric comedies to last a lifetime (not counting the upcoming Odd Couple 2).

Two-and-a-half stars