Cheap L.A. Story (DVD) (Steve Martin, Victoria Tennant, Richard E. Grant, Sarah Jessica Parker) (Mick Jackson) Price

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Customer Reviews of L.A. Story

*Scratches head* Why did this do bad at the box office?
Actually I can probably answer my own question: because everyone went to see this movie expecting The Jerk and got Woddy Allen. This is not a bad thing, in fact this is (in my opinion) Steve Martin's finest achievement, a brilliantly written, witty, well-rounded romantic comedy that is definately a "cult-favorite". I hate most romantic comedies, detest them because they use stupid plots designed only to drive the characters together. This movie builds a world of comedy around Steve Martin's character, then gently and subtly introduces the romance in a very artistically delightful bit of filming, with a dreamy Enya soundtrack in the background (back when she was at her best). How can you not laugh when Steve Martin is on the freeway and, to his horror, hears it's the first day of spring and consequently "open season on the LA freeway", to which he immediately takes out his gun and starts firing blindly at the old granny in the car next to his, who fires back. Or all the great cameos like Rick Morrannis, Patrick Stewart, Chevy Chase, and even Terry Jones. If you're a fan of Steve Martin's more subtle wit instead of his goofy antics (read his book Pure Drivel for similar subtle humor), you will love this movie.

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L.A. STORY is Steve Martin's masterpiece
It's always a delight to follow a movie comic who really knows what he's doing, because eventually you hit the jackpot. With Woody Allen, it was HANNAH AND HER SISTERS; with co-exec-producer/writer/star Steve Martin, it's L.A. STORY. Rarely does any movie, much less a comedy, keep me bolted upright in my seat in anticipation of what might happen next. But from its schizoid opening ballet to its sweetly happy ending, even when I wasn't laughing, I was enchanted.

Martin plays Harris K. Telemacher, a Los Angeles TV weatherman who's unsatisfied with his superficial lifestyle. He woos and beds some women whom most men would probably be thrilled to have (Marilu Henner, "Sex and the City's" Sarah Jessica Parker), but he is unsatisfied until he meets a British journalist (Martin's then-wife Victoria Tennant) whose very unpretentiousness is enough to knock him off his feet.

This is obviously Steve Martin's attempt to be another Woody Allen--there's the Annie Hall-like quirky romance, the use of jazz great Django Reinhardt on the soundtrack (he also uses Enya, which was my introduction to this beautiful vocalist), and he romanticizes L.A. the way Allen does The Big Apple. Funny thing is, it all works. Even if you're as anti-L.A. as Manhattanite Allen is, it's an L.A. crafted in Steve Martin's mind, anyway--and what an original landscape it is.

It even goes Allen one step better. One scene Allen filmed and then deleted from ANNIE HALL featured the rolling news marquee in Times Square telling him to return to Annie in L.A. I have no idea whether Martin ever heard about this or not, but in L.A. STORY, he gets romantic advice from a highway traffic sign. The concept sounds hopeless (as Allen obviously decided it was), but Telemacher is so disbelieving about the concept that its comedy comes across. After all, everything else offbeat happens in L.A.; why not this?

There are few comedies that meld so perfectly. One is tempted to credit its lush visuals and on-the-button pacing to director Mick Jackson, except that Jackson has done little before or since that is this striking (THE BODYGUARD was a big hit, but I can't say it stands out in my mind). It's obviously Martin's comic vision all the way, and it's pure delight.

Martin's physicality and wit are on grand display here. And though Victoria Tennant, like Jackson, has done little else in her career that's this good, Martin certainly makes us see just what he saw in her. When they finally come together, it feels deserved and not at all forced.

In an era where gastric wheezing and room-temperature mentalities substitute for wit, it's refreshing to see a comedy that actually creates its own special world. For me, L.A. STORY ranks right up there with Preston Sturges's screwball comedies--a one-of-a-kind take on the world's craziness and the love that helps us endure it.

L.A. STORY is rated PG-13 for sexual situations and strong language.

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One of Martin's Worst...
Having recently been certified as a qualified Steve Martin Critic under the auspices of the ASPG (American Society for the Prevention of Gout), I feel that I must impart what knowledge I have about "L.A. Story" so that the world will be a better place.

"L.A. Story" bombed at the box office after word of mouth killed it. In looking at the overall effort, it's not difficult to see why. "L.A. Story" is, in effect, a vanity effort, something that was manufactured for film critics and industry insiders. After films like "The Jerk", "Dead Men Don't Wear Plaid", and "The Man with Two Brains", Martin probably felt that it was time to move on to films that would appeal to a more mature, demographically correct audience.

The only problem is, "L.A. Story" is an effort that over reaches. As celeberal humor, it's too predictable. The sight gags and dialogue exchanges really don't work as humor, because the story itself plods along in a rather formulaic and mechanical manner.

"L.A. Story" is a film that will appeal mainly to members of the International Steve Martin fan club or certain Hollywood mutual admiration societies. If you want to see a good Steve Martin Film, watch anything else but "L.A. Story".

Incidentally, as of this writing, used VHS copies of "L.A. Story' are selling for $1.10 on Amazon...