Customer Reviews

Diner [VHS]

5 star:		(30)
4 star:		(10)
3 star:		(5)
2 star:		(2)
1 star:		(4)

 

 

Whether you're from Baltimore or from a suburb outside of New York as I am; whether you grew up in the 50s or the 70s as I did, this film will make you feel right at home. Very few movies can take the most mundane, the most ridiculously trivial moments and conversation from real life and make them interesting never mind howlingly funny. Diner succeeds in this and more. We know these guys: their sophomoric antics, their idiosyncrasies, their loyalties to best friends and their uneasy transition into the adult responsibilities of money, work, and marriage.

The scenes at the diner are deceptively complex in that Levinson has several characters speaking at the same time and yet we can follow the dialogue with no difficulty. The conversation, physical reactions and interplay between characters is so natural as to seem completely unrehearsed and unedited. It's almost as if we are at the next table eavesdropping on the fun.

The cast in Diner was rightfully recognized as a superb group of players and everyone from Daniel Stern to Kevin Bacon to Ellen Barkin has done prolific work since then.

I heartily recommend you watch Diner with your best friends and then go out for a meal afterwards. Whether you choose to order french fries and gravy is up to you.

DINER has been receiving a lot of unkind remarks in recent years, and much of it is undeserved. Time is really what has been unkind. In 1982, after years of hippie doldrums, disco ho-hum, and punk self-destruction, Barry Levinson reached back to a different era which seemed like a simpler one. But he did so without a nostalgic eye. He presented five young men at a point in life when hard decisions have to be made. To compound this, each of the five young men are facing critical issues at this critical time. (Notice I say five men, not six. Modell [Paul Reiser] doesn't have a plot line. He's there for comic effect mostly.)

Boogie (Micky Rourke), his gambling problems aside, struggles to keep his dreams but must learn to accept the responsibilities of life. The intellectual but alcohol-plagued Fenwick (Kevin Bacon) must face-down his crusty, aloof family once and for all. Shreevie (Daniel Stern) must learn to translate his love for love songs for love for his wife before his marriage completely evaporates. Mama's boy (with a twisted mama), Eddie, (Steve Guttenburg) who has no real excuse for treating his fiancee so badly, is the most desperate in need of growing up.

To me, Billy (Timothy Daly) has the most poignant of all problems. He's willing to face up to his responsibility; he's willing to do the right thing. In one scene, where he decks the last opposing player of a baseball team that had ganged up on him, he essentially has put his boyhood behind him. What's standing in his way is the woman carrying his child but won't marry him. (She has good reason, by the way, for being reluctant.)

But comedy is watching other people struggle with their problems, after all. To me, the more believeable the problems (and they are believeable) the more effective the comedy.

Levinson squeezes so much humor out of these characters, and the actors deliver beautifully. The ease with which the cast interacts makes the viewer wonder whether they had been friends for years before making this film. Unlike other comedies of the early 80s--the infamous one-liners strung together--DINER's tangle of plot lines grows logically; it progresses as a result of the characters, not the situation. And while the film ends, according to true comic convention, with a wedding, it is the only traditional aspect of the film. It was truly unique for its time. And perhaps the time will come again when people will appreciate the value of this movie.

I first saw Diner in the early eighties and it became one of my favorites. It captures the same feel as another coming of age movie, American Graffiti. The stories occur only three years apart, with Diner capturing more of the fifties feel and being the grittier of the two. While both of the films are excellent and understated, I can probably handle Diner on a more regular basis.

It struck a chord with me because a group of 5-6 friends and I spent each Friday and Saturday night during the early eighties sitting around a table in an all night cafe doing what the guys in Diner do - talking about women and the world in general.

The characters are normal guys, but at the same time they hold surprises. Boogie, played by Mickey Rourke, works in a beauty salon AND goes to law school at night. And this is in 1959! Fenwick, Kevin Bacon's character, appears to be a delinquent with a drinking problem (which he is), but reveals an intelligent side. Daniel Stern's character doesn't understand his wife at all, but has an encyclopedic knowledge of music history.

The entire starring cast went on to bigger (but not always better - where is that understated Mickey Rourke now?) things but the film contained firsts for several people involved. This was Barry Levinson's directorial debut, Ellen Barkin's film debut and a breakout role for Mickey Rourke.

The DVD is a pleasant surprise. It contains an anamorphic widescreen video transfer which is surprisingly free of nicks and scratches, although not perfect. The widescreen presentation is a revelation when compared to the pan and scan VHS version. City shots show much more and the group scenes flow much more smoothly without the cutting back and forth between characters.

Another surprise is the Dolby Digital 5.1 surround track. Most films in the early eighties were stereo, but many small films have not gotten the full DD treatment. This one has and, though it is not an action-explosion-car crash movie, the benefits of the DD audio are evident.

There is also a documentary called Diner:On the Flip Side which has Levinson and all the stars except Mickey Rourke in it. This is a nice addition as it helps explain how the characters appear to be a real group of friends, not just actors playing a group of friends. The parallels with American Grafitti continue here, as both casts were brought to their shooting locations, housed in a hotel and spent an inordinate amount of time together before and during filming.

If you want a film that envelopes you like a warm blanket, and which has great dialogue and character interaction, get this DVD, call over a few friends and enjoy.

Couldn't help but note that all these fine reviews appear to be written by males. Lest anyone get the impression Diner is strictly a "guy" film, I'm here to enlarge the audience base. It's a no-plot hilarious film with enough bitter/poignant moments to lift it beyond comedy. The acting is superb. I can't say enough about Barry Levinson's firm grasp on the entire picture. The actors, though now well known, were neophytes at the time. Levinson took them beyond themselves. Some of them have never approached the perfection again of their performanances in this film. I think particularly of Steve Guttenberg and Mickey Rourke. I became an instant Kevin Bacon fan first for crass reasons (be still my beating heart) and secondly for his excellent realization of his role. They are bored, they are restless and no, they are not "men." They are between adolescence and adulthood, a very unpleasant place to be. We laugh, but they didn't--not then.

This is the first of films which comprise Barry Levinson's "Baltimore Trilogy," the other two being Tin Men (1987) and Avalon (1990). No two share much in common except Levinson's obvious love of the city and his commitment to "controlled freedom" which allows actors to improvise, collaborate with him on script revisions, and in other ways participate in the completion of a film. The nature and extent of such engagement is unique. The results -- as evident in the trilogy -- are impressive.

I guess you could call Diner a "guys film" but the six mutually-dependent (co-dependent?) young men seem so immature, indeed so dysfunctional to me that I find it difficult to believe that any reasonably intelligent, self-assured young woman would want to have anything with them, especially as a group. Beth (Ellen Barkin) is married to one of them, "Shrevie" (Daniel Stern), who would much rather hang out at the diner with his friends than spend time with her. Eddie (Steve Guttenberg) is engaged to be married and already has concerns about being "tied down" as he prepares a prenuptial quiz based on Baltimore Colts trivia. His fiancee must get at least a score of 65 to "pass" or the wedding is off. Modell (Paul Reiser) has a sharp sense of humor and apparently nothing else going for him. "Boogie" (Mickey Rourke) is a hair dresser by day and claims to be a law student at night while sinking further into (gambling) debt to his bookie. As for Timothy (Kevin Bacon), he lives on a meager monthly allowance from a family trust fund and is perhaps the most lethargic of them all, no doubt because he is almost always drunk or close to it. They are re-joined by Billy who returns to Baltimore from graduate school in New York to serve as Eddie's best man. Billy has a pregnant girlfriend who seems indifferent to any further contact with him.

According to Levinson, he shot the diner scenes last so that, by then, the six lead actors would have gotten to know each other and be more comfortable with each other...if not bond as tightly as the characters they portray in the film. My reactions to it when I first saw it were different from when I saw it again recently. Unlike in National Lampoon's Animal House (1978), much of the humor in Diner now seems somewhat stale to me. Also I now have much less patience with the central characters' immaturity and irresponsibility which I thought was rather cool in 1982. Also, I am much more uncomfortable now with how they view women and, worse yet, how they treat them. Finally, I now feel some degree of sorrow for behavior which seems so wasteful. Don't these guys realize that time is NOT unlimited, that getting as much formal education as possible is highly desirable, that decisions have consequences, and the number and quality of opportunities in their lives will rapidly diminish each year? Obviously, the movie hasn't changed. I have.

However, then in 1982 and again recently, I really enjoyed the soundtrack (available on a CD), featuring 41 classics which include Whole Lotta Shakin' Going On (Jerry Lee Lewis), Teenager in Love (Dion & The Belmonts), Mr. Blue (The Fleetwoods), Come Go with Me (Del Vikings), Beyond the Sea (Bobby Darin), It's All in the Game (Tommy Edwards), Whole Lotta Lovin (Fats Domino), Don't Be Cruel (Elvis Presley), and Goodbye Baby (Jack Scott). Each generates so many personal memories, including specific scenes in this film. The DVD version offers two especially interesting special features: an "Introduction" by Levinson and a "making of" documentary called "Diner: On the Flip Side" with Levinson and members of his talented cast (except Rourke).

Those who enjoy this film are urged to check out the aforementioned Tin Men and Avalon as well as American Graffiti (1974), Car Wash (1976), The Hollywood Knights (1980), Fast Times at Ridgemont High (1982), Mystic Pizza (1988), and Barbershop (2002).

I have a lot of affection for this movie, not least because I was born and raised in Baltimore - although I was younger in 1959 and lived on the other side of town. Baltimore is as much a character as any of the actors and the film lovingly recreates the city as I remember it.

Diner is about a bunch of guys who are never happier than when hanging out at the wonderfully nostalgic eatery of the title. The emphasis is on atmosphere and character more than plot, although there are several memorable set pieces - most enjoyably in the cinema when Mickey Rourke's date finds a surprise in the popcorn.

The cast - the heart and soul of the film - are universally strong, except for Kevin Bacon's periodic lapses of overacting. The dialogue seems natural and occasionally improvised - especially Paul Reiser's, whose character unfortunately gets lost in the middle of the film. The female characters are more basic and less deep, but then this is really a film about the guys. And their camaraderie - which developed during rehearsals and filming - is the major charm and attraction of Diner.

I love the film, but then I'm from Baltimore. But it must have universal appeal because my English wife also loves Diner and she's only been to Charm City once. It's a great film that rewards repeated viewings. For me, the only downside is the sight of the Little Tavern and the knowledge that those gorgeous little burgers are now extinct.

This is a remarkable tribute to adolescence in the age of diners, the edge of the 60's. All the stars-to-be,Mickey Rourke, Steve Guttenburg, Daniel Stern, Kevin Bacon and Ellen Barkin play small-time characters with brilliant conviction. At the diner, the gang collects to dream, boast,gamble and connive their way into the human race. All the pranks, risks, deceptions kids can conceive of, they individually try to pull off, in order to convince themselves that their adolescence will remain forever. Some dreams are achieved, others fall short, but this town clique changes in the end. Special recognition should be spent on the sensitive character that Ellen Barkin plays. As a less-than-gorgeous beautician with ambitions and under-rated, she is "set-up" as a gag. When things do not entertain, only hurt her, the way Mickey Rourke recovers his decency to reach out to Ellen is a very special moment. Small towns did that. Cities are less forgiving.Unpredictable, quirky, childish but ultimately exhilarating are the reactions to this nostalgic gem. The bride's "test" for the nervous groom is worth the price of admission.

Diner is one of the best films I have seen and it is no wonder that I fell in love with this film back in the 80's. Released at a time when most buddy movies involved sex, fart jokes and bad dialogue Diner stood out by showcasing the talents of some of Hollywoods best young actors. Set in Baltimore, Diner is the story of a group of life long friends who have survived High School and went on to get married, or go off to College. They all face the realities of life we see ourselves and like good friends offer comfort and support. Even when one or more of them finds themselves stuck in a cross road there was always the Diner, that friendly Cafe that was open all night where a group of guys could just hang out and talk guy talk. Diner was that little film that stood out and became minor classic among films. Barry Levinson would go on to make other films but this is still his best. Easliy one of my most watched videos, thankfully my DVD copy has taken the place of my well worn out VHS tape

What is really interesting about Diner is that it came very early in the career of its director and actors, yet although most of them have had monster hits since then, they have never surpassed their achievement in this movie. In none of his other films has Barry Levinson made his slice-of-life Baltimore milieu seem so cohesive, so moving, or so hilarious; in no other films did Mickey Rourke and Steve Guttenberg--who looked like nascent superstars in 1982 but squandered their early promise--come across with such charisma and charm. Even the preponderance of actors from this movie who went on to huge success--Kevin Bacon, Ellen Barkin, Daniel Stern, Tim Daly, Paul Reiser--reached a personal best in "Diner." In a way this is the ultimate "guy flick"--concerned very much with the way guys talk, think, and react to each other and to women--yet there's enough humor, tenderness and humanity in Levinson's vision to make this an excellent choice for any audience. It's interesting to note that Stern also starred in "Breaking Away," another classic sleeper comedy about young guys hanging out and trying to forget the future. The two flicks would make a great rental double bill!

I have some older friends that love the Brat Pack movies because they came of age in the 80s when they were popular. I however came of age in the early 90s, and though I've seen the movies I can't fathom why the Breakfast Club is so great. Diner is a different story. I loved this movie. And of the 80s movies, I think it's one of the most underrated when we look back on that great decade of big hair, Reagan, and movie flicks that are of the period. Of course, I never liked or could understand why Reagan was so great either. But back to Diner, for someone like Kevin Bacon who has gone on to fame with Mystic River and other movies, Paul Reiser of Mad About You and Daniel Stern of the Wonder Years to name a few, its interesting to see where they came from. Even more, while the Brat Pack members of Breakfast Club type movies, with the exception of Demi Moore and Emilo Estevez all burned out, the fact that the Diner actors still shine brightly,by contrast,if sporadically, I think says alot about the film itself and the acting. Tim Daly of Wings and Paul Reiser of Mad About You in 90s tv are really recent when you get right down to it. Again, the acting is great, the plots like the dick in the popcorn or the football quiz are wonderful insights into how guys think. And I like them even more as this cuts to the stereotype of being a guy but the movie itself is more of a thinking man's guy flick. I think that's why I like it. As I'm a thinking man. Exchanging football for History, I could see myself as an Eddie character ,and for a time and indeed sometimes now, I classify stuff like Shreibie, though there's no woman to heckle like Stern does. Its that type of transcendant quality that makes the film great. Eddie's marriage,and I'm not sure if this is 50s behavoir or not, to his wife to be and the fact that Eddie still lives with his parents I think is an interesting plot line into how these guys think. Though it should be said, back then, parents slept in seperate beds, so it could be natural time period peice info while exercising the view of the character as well. The DVD Diner I recently watched and I liked that. I think it has a lot of good features. There's interviews from the main characters as well as secondary characters, the director himself, the trailer of Diner, the "Baltimore films" catalog, and another trailor this time for I think it was Liberty Heights. While either VHS or DVD is good in itself for the movie, I think the DVD is the better of the two.