But what makes it truly bizarre is its context. The result is a flawed tour de force, in a format that at times resembles experimental theater. Executive producers Daniel Bigel and Mike Mailer. Carol Fox Searchlight Pictures Inc. Toback is exploring several issues at once, but none of them very deeply. What we're really seeing is Downey attacking Downey, for deceiving himself.
Cinematography by Barry Markowitz. Maybe if Toback had taken 11 days to write the script and four to shoot it, things would have worked out better. He has told interviewers he got the idea for the movie when he saw the disheveled actor making a handcuffed court appearance on TV and wrote the script in a four-day creative frenzy. Production design, Kevin Thompson. The film was shot in just 11 days, with Downey's intuition given free rein. That picture changes only marginally after the girlfriends reveal themselves, and the story accelerates from the amusingly angry and epithet-riddled confrontations to what plays as serious soul-searching. The only thing he seems to be upset about is getting caught. From his brilliant debut film, "Fingers," about a mob henchman with secret ambitions to be a concert pianist, and his nervy expostulations about the meaning of life in his documentary "The Big Bang," Toback has been a provocative, in-your-face filmmaker. Toback, directing his first film in eight years, is not above exploiting an actor or an issue. For the minute or two that the scene lasts, Downey is a spectacle of psychological ruin. It's like a classic drug rant, and given Downey's admitted addictions at the time the film was shot, it has the unsettling air of voyeurism. Executive producers Daniel Bigel and Mike Mailer. Tommy Frederique Van Der Wal: The single sex scene, cut down to receive an R rating, is tame compared to the language. What we're really seeing is Downey attacking Downey, for deceiving himself. Blake Allen Heather Graham: Blake is embarrassed and temporarily flummoxed, but his guilt seizure in the bathroom is out of all proportion to that crisis. R, for a strong sex scene, strong language and sexual dialogue, and for a violent image. There's genuine self-hatred in his bulging, reddened face, a cry of desperation in his improvised dialogue and, when he holds a gun to his head, he seems nearly overcome by the desire to pull the trigger. It starts with the streetwise, sharp-tongued Lou and the quietly confident Carla meeting outside, then breaking into Blake's apartment, where they compare their nearly identical notes about their relationships with him. Directed and written by James Toback. Then Blake returns from his two-week job-hunting trip to Los Angeles and, unaware that he has guests, begins calling the four important people in his life--Carla, Lou, his ailing mother and his agent--all the while entertaining a spirited interpretation of "Cum Sancto Spiritu" from Vivaldi's oratorio "Gloria. The result is a flawed tour de force, in a format that at times resembles experimental theater. We don't get the feeling we're watching Blake attacking Blake, for his deception. It's one act, one setting, three characters and a flock of ideas about fidelity, monogamy, commitment and sexuality in the '90s.
Video about two girls and a guy sex scene:
Two Girls and a Guy (Trailer)
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