Customer Reviews

My First Mister

5 star:		(40)
4 star:		(15)
3 star:		(2)
2 star:		(4)
1 star:		(1)

 

 

This has been unjustly trashed, probably because it's earnest, warm, and gentle, something not usually valued by the ex-film-students who run the indie world. So defy them and go see this touching gem of a tragicomedy.

A lotta g's there. Anyway, the movie starts like this; Jay (as in Jennifer, played by Leelee Sobieski) is a self-centered Goth teen, perceptive in some ways, naive in others; you know, typical teenager. Graduating from school, she needs a job to get her own place, and comes across Randall, a straightlaced but rather kind men's clothing store manager (Albert Brooks), who gives her a job.

The movie goes from there. I won't bother to describe the plot any further because A) it'd blow way too many jokes and B) it's not what you call stunningly original, which would matter if this weren't a character piece. However, this movie isn't about what happens to Jay and "R", as Jay dubs him, but how they cause and react to the events in it.

The relationship is a bit more complicated than friendship; Jay becomes sexually interested in Randall, which some people have found pretty hard to swallow, or have used to dismiss this as another "middle-aged guy wows young girl" movie, a case of boomer ego. Lay your fears to rest; this is a movie about a man and a girl entering a father-daughter relationship, not "Autumn in New York." I really feel sorry for people who got SO caught up in this aspect of the film that they missed its humor, or its heart.

Don't think, however, that just because this movie is touching, it's afraid of going for a belly laugh. The window dressing alone is worth the price of admission. I can't emphasize this enough, this movie is FUNNY!

The acting is great; Brooks and Sobieski, whether dealing with anger or trading one-liners, have sensational chemistry. Carol Kane delivers an excellent character performance as Jay's hyper-perky mother, and Michael McKean is a riot as Jay's...imperceptive stepfather. John Goodman has basically a cameo as Jay's hippie father, and he's funny, as always.

Then there's Christine Lahti's direction. The movie is told from Jay's viewpoint, and at the start, it's gently surreal, with good use made of computer special effects. Lahti handles this with considerable sensitivity, not neglecting the visual aspects in favor of the actors. She does quite a good job.

This is a movie infused with warmth, heart, and bittersweetness. It's good for a laugh, and good for a cry, and I heartily recommend it if you want either or both.

Among the many and myriad young actresses making movies today, there has unequivocally emerged a Fantastic Four, and they are: Natalie Portman, Anna Paquin, Kirsten Dunst and Leelee Sobieski. And the one who is arguably the leader of the pack, Leelee Sobieski, takes on the starring role here, in "My First Mister," a story of two very different people, of different generations, both of whom are alone in the world (though in different ways and for different reasons), and who ultimately find what they need in one another-- and without even consciously looking for it. Directed by Christine Lahti, It's a study, not only of human nature, but of the expansiveness and resiliency of the human spirit and of the heart, and how it is possible for two people to defy category and definition, and intuitively reach out to one another by allowing fate, or destiny-- or whatever you want to call it-- to take them beyond the parameters set by society, where-- as in this case-- they are able to find fulfillment in it's purest sense. It's a revised chapter taken from the age-old book of The Human Comedy, updated to a contemporary setting to illustrate that now as much as ever, no man is an island; that everyone needs someone, that there is someone for everyone and, moreover, that one will instinctively seek out that kindred soul, often finding him in the most unlikely of places.

Jennifer (Sobieski) is an unhappy teen; she's adopted a goth look and lifestyle, embraces her autonomy, but in so doing has alienated just about everybody around her, including-- or perhaps especially-- her immediate family. she simply cannot relate to her mother, Sylvie (Carol Kane), who seems perpetually mired in the `50s (her appearance and attitude part of her own defense mechanisms and survival tactics), or her step-father, Bob (Michael McKean), a nondescript individual who is just...there.

What Jennifer longs for is a place of her own, which she equates (albeit subconsciously) to independence, and toward that end she begins looking for the gainful employment that will enable her to achieve her immediate goal. And it is during her job search that she encounters Randall (Albert Brooks), the manager of a men's clothing store.

Necessity may be the proverbial mother of invention, but here it becomes the driving force that makes the connection between two people who-- if not for that necessity-- would never have known the other existed. As it turns out, however, due to some quite personal circumstances and reasons of his own, Randall is something of a singular individual, and is able to see beyond Jennifer's outward appearance and attitude, and agrees to give her a job on a trial basis. And it's the beginning of a unique relationship that will ultimately change both of their lives forever, and in ways that neither of them could possibly have imagined.

This is the first feature film that Lahti-- a fine actor herself-- has directed, and she does an exemplary job with it. She knows her characters and the emotional terrain with which she is dealing, and subtly fills the story as it unfolds with pathos and poignancy, which she delivers with care and sensitivity. Lahti has an eye for emotional detail and, perhaps due to her own extensive acting background, knows how to extract the precise sentiment she's endeavoring to express from her actors. And because of the way it's presented, when the story takes an unexpected turn, the transition is so seamless it comes across as entirely real and convincing, which of course gives it credibility, and makes it believable. Lahti has a gentle touch tempered with a restraint, and it gives her film a natural flow and a rhythm that draws in the viewer and makes for a satisfying and involving experience.

Complementing Lahti's style, and assuring the success of this film, are the wonderful performances by Sobieski and Brooks. Sobieski runs an emotional gamut in this film, and she does it with a poise and maturity beyond her years, making her journey from disenfranchised goth at the beginning of the film, to the individual she is at the end, plausible and convincing. She manages to convey all of the emotional layers of her character, which enables the viewer to relate to the complexities of who this young woman is and what she's feeling, which-- since this is a character driven story-- is integral to the overall success of the film. And Sobieski makes it so, with a memorable performance.

A big part of the credit for the film's success has to go to Albert Brooks, as well. As he does here with Randall, Brooks has an innate ability to create a character that is so normal, so average-guy-on-the-street, that it adds that total sense of reality to the film. It's the little things that Brooks does so well, and that make all the difference; he gives the audience someone with whom they can truly empathize and identify, because he so succinctly manages to express all the affecting elements of everyday life-- the minutiae of day-to-day existence, as well as the corresponding emotions-- through his characters, and it's why you're going to remember Randall for a long, long time. Like Ben Stiller, Brooks has a straightforward, often wry delivery that works so well, and which he uses to great effect. And it certainly serves him well here.

The supporting cast includes Desmond Harrington (Randy), Mary Kay Place (Patty), Kevin Cooney (Doctor), William Forward (Customer) and Lisa Jane Persky (Sheila). An entertaining, well crafted and delivered film that promises one thing and ends up giving much more, "My First Mister," in the final analysis, is an engaging story that goes deep and touches the heart, and without any maudlin sentimentality attached. Ultimately a transporting experience, this is one that will take you to a place you'll want to be, and you'll be glad you took the journey. And that's the magic of the movies.

What a wonderful little gem of a movie, full of depth and heart and more than a few surprises. Leelee Sobieski plays against her blonde and generally beautiful stereotype in this film, appearing as a rather dark and depressed 17 year old teen (nicknamed J), complete with tattoos, black makeup and pierced skin. She is miserable at school, doesn't feel understood by her mother (Carol Kane in one of her best roles), stepfather or father. She has no friends. In short, she is alienated, desperately in need of someone she can relate to.
That someone turns out to be the last person you'd expect, a 49 year old men's clothing store owner named Randall (played by Albert Brooks). Although he is reluctant to hire her, he eventually gives in and the two become friends after a shakey start. Not that it is all smooth going. The two are so different that there's bound to be a few rough patches in their friendship, some occasions where they test one another (I don't want to give details for fear of spoiling the surprises).
Luckily this doesn't turn into another "older guy, younger girl" romance. Director Christine Lahti is too smart to things get so stereotypical - thank goodness. And she is also wise enough to let viewers discover the hidden depths in Randall and J, depths that might not surface if sex muddied the waters. Lahti also adds the special touches that make this movie a standout - humorous bits, personal details and an understated style that charms without being overwhelming. If you're looking for a movie that will touch your heart and leave you with a good feeling after watching it, you can't do better than this one.

The combination of 17-year-old J (for Jennifer) who writes epitaphs in the darkness of her Goth life and almost-fifty, suprisingly keen-witted and tolerant Randall shouldn't work as the leading pair of any film. But they do because of the heart-felt and profoundly intelligent performances of Leelee Sobieski (of the piercing gray-blue eyes) and Albert Brooks (who should, by now, have an entire shelf filled with Academy Awards). Goth girl and uptight clothing salesman make a gentle connection that proves enlightening and life-affirming for both of them. Directed to great effect by Christine Lahti, this is a film that could've been a sweetly sickening confection. Instead, its potentially saccharine moments are salvaged by surprising nuggets of truth and humor. We have the privilege of watching these two characters grow and evolve into finer versions of themselves. Ably assisted by Carol Kane (as J's ditzy but good-hearted mother) and Michael McKean (one of the exceptionally versatile regulars on the great Tracy Ullman show) in a toupee that's so terrible it deserves a special award. Kudos go to Mary Kay Place and John Goodman who carry off their supporting roles good-naturedly. This is a lovely film that tugs at the heart-strings without being manipulative while, at the same time, tweaking our funny bones.
Most highly recommended.

Christine Lahti hits her directorial stride with My First Mister, the story of goth chick J's precarious friendship with her wry middle-aged retail boss Randall. Proving the old adage that cliches are cliches because they're true, Lahti guides Leelee Sobieski (think Drew Barrymore's geeky math team friend in Never Been Kissed) and Albert Brooks (Taxi Driver, Defending Your Life) through Jill Franklyn's warm comedy that misses sappiness through its edginess and wit. "I like chocolate. It's dark and warm, like I imagine a hug would be" is just one of the lines written by Franklyn, who has contributed several scripts to the Seinfeld show.

J's perspective, like that of Winona Ryder's Roxy in the '80's movie Welcome Home Roxy Carmicheal, is dark and miserably self-centered but enormously entertaining. Her chemistry with Randall requires no suspension of disbelief--Brooks and Sobieski have just made my list of Top Ten Most Watchable Onscreen Couples. The movie's set up is absorbing, and the somewhat formulaic rise of action doesn't deter from its entertainment value as the last third of the movie veers from the predictable and into the deeply satisfying. Cameos by Mary Kay Place, Micheal McKean, Carol Kane and John Goodman add color to the screen as well.

In short, an excellent movie and well worth your time.

One of the best movies I've ever seen. Well written, well directed, and very moving. An extremely relevant and serious subject. Wonderful combination of heartfelt emotions and wit. I made my 15 year old daughter sit down and watch it with me!

I was not ready for such a powerful, intelligent, and intricately detailed film. I had read several glowing reviews for Christine Lahti's official directorial debut, but I had just assumed this would be another Hollywood schlock-fest featuring the dry humor of Albert Brooks (which I find grows on my with each new film) and Leelee Sobieski attempting to reconnect with a teenie-bopper audience. I was wrong. To be perfectly frank with you, I was dead wrong. This was such a strong film that dedicated itself to developing strong characters, to giving us honest emotions, and providing us a story that is not unfamiliar in the "real" world that it nearly left my jaw hanging on the ground. From the opening moments in which we are focused directly on the life of Jennifer (aka "J") to the unrecognizable change to following Randall (aka "R") My First Mister will make you laugh, make you cry, and make you realize that friendship is stronger than the clothes you wear or the amount of piercings on you face. Through the use of Brooks' "every man" persona and Sobieski's attention to detail with her character, this film gives us a rare glimpse into Lahti's near-perfect film.

What initially pulled me into this film was the untraditional Hollywood story that scribe Jill Franklyn unfolds before us. I assumed, prior to watching the film that this was going to be a sexual film mocking the taboos of age in our society. From the completely baffling byline, one could only assume that we were about to experience an early version of Thirteen, but Lahti and Franklyn do something rather unexpected. The idea of sex is placed in front of us early in the film and prior to the climax, but it isn't the central focus. By building this film around the premise of friendship instead of sex, Lahti creates a unique and poignant film about other cultural taboos in our society. She eliminates the idea of sex and gives us two strong-willed characters that, perhaps in another life, may have had a sexual relationship, but now are just seeking companionship and comfort. What brings a smile to my face with this story is the way that it is developed. Lahti nearly teases us with the idea of a sexual story several times, but instead builds a solid foundation around friendship. She makes us, the audience, feel as if we are meeting two friends for the first time. By eliminating sex, she pulls us deeper within the characters allowing us to see the true "love" that is obviously between these visual opposites. I use the word "visual" because we do not believe their connection at first because of the clothes that they wear. Lahti uses this technique to trick us. A Goth girl befriends Mr. Rogers? Society would tell us that this could never happen, but the Lahti persuades us by giving us two of the strongest characters to play against each other in modern cinematic history.

I realize that others would argue that there have been stronger matching in Hollywood long before Brooks and Sobieski, which I would agree of classic Hollywood, but recently (basically 80s to present) it is hard to find two actors that seem to compliment each other like a great cheese and aged red wine. Brooks and Sobieski took me away from them, as the actors, and gave me a whole new viewing experience. Sobieski dove, head first, into her character giving "J" mannerisms and characteristics that seemed pure and researched. I felt as if Sobieski was one of those misunderstood Goths that I had class with in school. From the poetry, the eye movements when speaking, and the overall self-abusive negativity that she has against herself as well as those around her. She patiently waits for the right person to enter her insane life and finds that with Brooks. For those seeking his typical sarcasm and wry attitude, My First Mister may disappoint. Albert Brooks contains himself in this film. He does so to the point that midway through the feature I forgot that it was funnyman Brooks. He amazingly transforms himself into an older version, in a khaki color, of "J". Odd to say, but that is why these two "opposites" attracted so well. The two play so well off each other that as an audience member you have the chance to enjoy both the acting as well as a very strongly developed story about family and friendship.

I have talked about the story, I have talked about the characters, but none of this would have been possible if it were not for the brilliant direction behind the camera and the talented eye of minimal director Christine Lahti. At first I was unsure of how well she would be able to handle such a deeply emotional topic, if she would clich? the characters and fill their mouths with remedial dialogue that would be painful to both the eyes and ears, but instead she remained calm, cool, and completely collective throughout the entire film. It was obvious that she had done her homework prior to each scene and before each take. She had the control of her actors, which developed into some great on-screen chemistry, as well as she knew how to tactfully take us to the next emotional level. Sure, it wasn't perfect (the ending seemed a bit tattered), but Lahti remained focused and even cleverly changed the focus throughout the film with the greatest of ease. We began with "J", moved to "R", and went back to "J" for the final tearful moments. Other directors would have had our minds in a fix, but Lahti was delicate and truthful to the foundation that she had just set. I was surprised to see that Lahti has not directed more after this project, because it was obvious that her talent was behind the camera (as well as in front).

Overall, I thought My First Mister was a sensational film. This was the epitome of the "diamond in the rough" cinema. We had a superb cast that complimented each other so well that we could easily forget that we were watching a film. We had a story that spoke emotionally and socially about friendship and family on more than just a "June Cleaver" level. Finally, we had a director that was not afraid to take risks and do her homework. This story works on so many levels that to begin to unravel it would take more time than allowed. I suggest this film strongly because it will make you think twice about passing judgment on someone due to their clothes or piercing habits, who knows where friendship could erupt!

Grade: **** out of *****

One of the most pleasant surprises for me. Christine Lahti's directing is superb, the writing brilliant, the chemistry between Leelee Sobieski and Albert Brooks second to none. Some great supporting work by big names such as Carole Kane, John Goodman, Michael McKeon ("Lenny" from Laverne & Shirley -- excuse the misspelling). Albert Brooks is magnificent, as expected. Leelee Sobieski gives a performance that leaves me alternately on the brink of tears or laughing, but always touched. I am left speechless by how good an actress she is. I'll add this in honor of her French roots: De plus, mademoiselle, vous etes d'une beaute sans pareille!!! Check out "Joan of Arc" and "L'idole". More incredible performances from this great young actress.

I admit it: I'm a fan of Leelee Sobieski. She just looks *interesting*, but unlike some actresses who use that kind of appearance to simply look pretty while talking in a monotone, she uses it to create great, memorable characters.

In My First Mister, she tosses out her usual good-girl image and instead portrays a multiply-pierced, deeply melancholy teenager who has spent most of her life wanting to escape from everything -- and everyone -- around her. She's a virgin and not particularly happy about it, and she doesn't have a friend in the world ... until one day, purely by accident, she runs into Randall at a local department store. He's much older than she is, but (as is unsurprising in a movie like this) they develop a close, curious friendship. It's not quite sexual, but never quite asexual either; the actors strike just the write note to remain believable without ever becoming creepy.

About midway through, the wheels of the plot begin turning, and we discover some long-buried secrets resulting in an imminent crisis. This stuff is typical movie-of-the-week material, and I found it a little disappointing after the masterful buildup.

Still, having seen thousands of friendships portrayed in books and movies over the course of my life, it's always delightful to discover something genuinely new. I'd never encountered anything quite like My First Mister before, and now that I have seen it, I'm glad I did.

This movie was a BIG surprise for me. I felt it in my heart, while I watched the relationship between LeeLee's character and Brook's character grow into something words cannot describe. If you enjoy seeing real movies about real people, then this film is for you. Albert Brooks masters his part, playing a lonely man. This is definately one of my favorites