When a film is saved from oblivion by the contributions of one singularly sensational party or person, it's always a mixed blessing. On the one hand, you're grateful that you didn't totally waste your ticket admission. On the other, it can only be, at best, a partially fulfilling experience.

Such is the case with FLAWLESS, a film that would quickly disappear from memory were it not for the exceptional performance of Philip Seymour Hoffman. Hoffman, who has already established himself as an actor to watch in films like Boogie Nights, Happiness, and the upcoming The Talented Mr. Ripley, gives a career-making turn as Rusty, the gently melancholy pre-operative transexual who serves as den mother and emotional midwife to a gaggle of colorful East Village denizens.

The story, however, is actually that of Joe (Robert DeNiro), a celebrated ex-cop whose recent stroke has left him with an almost indecipherable speech impediment. When he is advised to take voice lessons, the straight-as-an-arrow Joe reluctantly approaches his tenement neighbor, Rusty, a drag performer who plays the piano and sings, "not lipsynching like those other queens". There is, of course, a fair amount of 'Odd Couple' schtick, but the abilities of both actors hold the scenes to a maudlin minimum. Hoffman is totally transformed as Rusty, and exudes a tangible aura unlike any of his other memorable characters.

Joe, of course, has numerous problems dealing with Rusty and his drag queen friends (including Tony winner Wilson Jermaine Heredia). True to Hollywood's rosy ability to overcome any prejudice in under two hours, though, Joe learns the error of his ways even as he learns to speak better. There are some less successful scenes about Joe and Rusty's love lives (Joe with a high-class prostitute, Rusty with a violent married man), and a subplot about stolen money and a low-rent gangster is irritatingly misguided. Writer/director Joel Schumacher, who is probably best know for the last two BATMAN films, is his own worst enemy. I'm not sure Schumacher has ever met any schmaltz he didn't like...some of the corniest lines of dialogue must have been hard for DeNiro and Hoffman to utter with any sense of reality. Furthermore, Schumacher's sense of color -- and by that I mean that he likes big, loud colors -- is also on full display, which doesn't always help matters in a semi-emotional drama. Pacing problems also plague his weak direction.

Joe, of course, has numerous problems dealing with Rusty and his drag queen friends (including Tony winner Wilson Jermaine Heredia). True to Hollywood's rosy ability to overcome any prejudice in under two hours, though, Joe learns the error of his ways even as he learns to speak better. There are some less successful scenes about Joe and Rusty's love lives (Joe with a high-class prostitute, Rusty with a violent married man), and a subplot about stolen money and a low-rent gangster is irritatingly misguided. Writer/director Joel Schumacher, who is probably best know for the last two BATMAN films, is his own worst enemy. I'm not sure Schumacher has ever met any schmaltz he didn't like...some of the corniest lines of dialogue must have been hard for DeNiro and Hoffman to utter with any sense of reality. Furthermore, Schumacher's sense of color -- and by that I mean that he likes big, loud colors -- is also on full display, which doesn't always help matters in a semi-emotional drama. Pacing problems also plague his weak direction.

FLAWLESS is unfortunately mistitled -- there are, in fact, a number of problems. But, to borrow the title's jewel-encrusted imagery, there are many precious stones to uncover here. While it may not be the best film you could see, thanks to Hoffman, it's not a waste of your time, either.

-- Gabriel Shanks

Review text copyright ©1999Gabriel Shanks and Cozzi fan Tutti, © 2003 Mixed Reviews. All rights reserved. Reproduction of text in whole or in part in any form or in any medium without express written permission of Mixed Reviews or the author is prohibited.

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