Having a bright woman, such as Frankie, fall in love for an android strains any–even moviesh–credibility. During sex, Ulysses gets so excited that his head screws around backward and his body short-circuits and falls apart. As the android Ulysses, he walks in a stiff-kneed Frankenstein stagger, his mouth frozen in a dumb grin. Peters, who hates and fears women, Malkovich talks in a droning, pedantic voice. John Malkovich, in an offbeat casting choice, plays both the prissy scientist who constructs the android in his own image, and the android itself. The opening scene, which shows a pressured Frankie shaving her legs while driving to work, presents a comic view of modern working woman.
Right offers some incidental pleasures: The Miami atmosphere, a mixture of Jewish and Cubano (Se Habla Yiddish, a store sign reads) is a corrective to Miami Vice’s stylish glaze. Seidelman thus repeats Mel Brooks’s schtick of using the big penis of a monster in Young Frankenstein, albeit without the humor and obscenities and Madeline Kahn’s high-pitched thrills in Brooks’ picture The android’s wide-eyed amazement–a boy in the body of a grown man (with a big penis)–makes him desirable. The film’s message is kneejerk feminist at its most cynical, suggesting men are so inadequate they have to be manufactured by women. The other male characters are priggish, self-centered, and sexually inept.
#MAKING MR RIGHT HEAD MOVIE#
But unlike the 1985 romantic, this film lacks charm and the casting is flawed.Īs co-written by Floyd Byars and Laurie Frank, the movie is supposed to provide commentary on modern relationships: Real men are so repulsive that women prefer androids who are sweet and open about their feelings. Right is a high-concept indie: The text relies on the notion of mistaken identity-a robot who develops a heart.
Like Desperately Seeking Susan, Making Mr. On the surface, the narrative is a feminist version of the popular Frankenstein myth.įrankie (Ann Magnuson) is hired to socialize an android astronaut called Ulysses (John Malkovitch), and over the objections of his inventor, does such good a job of humanizing him that she falls for him. Right, a satire about the relationship between a public relations expert and her robot. The studios wanted her to remake versions and variations of the 1985 comedy over and over again, but instead, she chose to direct Making Mr. After her breakthrough indie comedy, Desperately Seeking Susan, Seidelman got bigger production budgets at her disposal–and commercial pressures to match.
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