Tommy Wiseau | 99 mins | download (HD) | 16:9 | USA / English | NR / R
I did not enjoy it, it’s not true, it’s bullshit, I did not enjoy it, I did naht!
Oh hi reader.
You’ve heard of The Room, right? Well, if you hadn’t before last year’s awards season, you probably have now, thanks to James Franco’s fictionalised account of its making, The Disaster Artist. I can’t remember when I first heard of The Room, but it was certainly after it had already gained a reputation among some people for being (as someone once put it) “the Citizen Kane of bad movies”; the kind of movie where its fans attend midnight screenings in costume, shout out phrases, throw items in the air, and all that palaver.
Ostensibly the story of the relationship woes of twentysomethings in San Francisco, there is nothing wrong with The Room… for the first two minutes. Then Tommy Wiseau enters a room and opens his mouth. There are no words to accurately describe Wiseau — he has to be witnessed to be believed. From there out, the film is so distractingly ridiculous that it’s easy to forget what any of it is supposed to be about. For the first half-hour it feels like they’re making a soft-core porno: the plot seems designed purely to facilitate sexual encounters (at one point a couple walk into a room and start getting it on before we’ve learnt anything else about them), most of which last several minutes to the sound of cheesy pop music (though they’ve cut out any explicit bits, so don’t go watching it just to get your jollies).
From there, stuff just… happens. Characters come and go at random (three actors quit the project midway through shooting, so Wiseau sometimes just invented a new character rather than reshoot existing scenes); subplots about nothing pop up now and then; and people generally behave like no human being has ever behaved. Production values are all over the place, like the sets: many are amateur-theatre-level under-designed, yet some scenes take place on a rooftop where the view has been green-screened in fairly well. It’s also awfully misogynistic… but when it’s so awful generally, does that even matter? And yet some parts almost transcend the horror: the scene on the rooftop after they save Denny from being shot is like fucking poetry, with all its repetition and… stuff. I mean, it’s really bad poetry… but really funny poetry.
I guess some people would say you have to watch The Room at one of those cinema screenings packed with die-hard fans to get the most out of it, but they also say that about Rocky Horror and I’ve never found that to be true. Of course, Rocky Horror is actually a good film, whereas The Room is only entertaining because of how bad it is. The full 99-minute experience is a bit of a drag at times, waiting for the really funny bits to roll round, but the level of incompetence is so consistent that it remains fascinating throughout.
However, that does make it almost impossible to rate accurately. As what it sets out to be — a serious drama about the love lives of a group of friends — it’s irredeemably awful. But that’s not why we watch it. As a so-bad-it’s-good film to laugh at… yeah, it’s pretty funny. And as that’s why I watched it, that’s how I’ll mark it: for the level of enjoyment I got out of it, irrespective of what was intended.
James Franco’s dramatisation of the making of The Room, The Disaster Artist, is on Sky Cinema from today. My review is here.