DORFMAN

By: debbie lynn elias

What a perfect film to open the 15^th Annual Hollywood Film Festival! With DORFMAN, writer Wendy Kout and director Bradley Leong, pen a love letter to Los Angeles as told through the eyes of 27 year old Deb Dorfman. From an engaging cast to an exquisitely designed cinematic palette, DORFMAN, celebrates not only the renaissance and revitalization of Los Angeles but of one’s own self.

Deb Dorfman is the seemingly perfect daughter..at least in the eyes of her father and brother. Single, mousey and plain, she lives at home in the San Fernando Valley caring for her widowed father who mires her in a world of Jewish guilt and politically incorrect one-liners and philosophies. An accountant, she works at her brother Daniel’s agency where she serves not only as the workhorse, but his confidante and scapegoat. Somewhat socially inept when in public or when dealing with other people, Deb is almost apologetic for her existence and is the doormat of her world, insuring everyone else’s comfort and ease while at no time does anyone think of her needs or desires. Her only private joy comes from listening to audio romance novels and having puppy love daydream fantasies about Jay. Gorgeous, sexy, self-absorbed, egomaniacal, and seemingly a man’s man, Jay travels as a reporter, embedding in the social and political hot beds of the world. And while Deb may dream of a life with Jay, all Jay can see is his best friend Daniel’s little sister who worships the ground he walks on leading to undying loyalty and servitude.

So imagine Deb’s excitement when, with the announcement of a new assignment across the globe, he needs her help in caring for his cat Elmer…and unpacking his new loft in Downtown LA…and decorating his new loft in Downtown LA. Did I say “Downtown LA”? Yep. And for a girl from the Valley, Downtown L.A. is like flying to Jupiter. But eager to please Jay, Deb soldiers on and trundles over the hill and down the freeway, leading to the adventure of her life.

Alone and insecure, Deb’s first introduction to Downtown life is Lil G, a jovial African American woman working as security/concierge at Jay’s building. Seeing a befuddled Deb, Lil G gives some her a little prod into the routine of a resident, directing her to the mailroom where Deb encounters Cookie. A swarthy sexy man, their meeting is awkward and stumbling in Deb’s usual manner, but there’s something about the two that clicks as each tosses out sarcastic one-liners and attitude.

While tackling the mess that is Jay’s loft, and the mess of her brother’s life, and the mess of her father now being alone, a strange thing happens. Deb makes friends. Vronka and Molly, two stunning models who, according to Deb, look like hookers, take Deb under their wing. Herself transforming into something vibrant and alive, much as she is transforming Jay’s loft and as Downtown itself has transformed, Deb’s renaissance isn’t lost on Cookie, a man who noticed her when she was seemingly invisible . And as Deb’s renaissance grows, so does that of those around her. But where will it all lead?

Sara Rue is enchanting and charming as Deb Dorfman. Perhaps a cathartic role for Rue in celebration of her own personal metamorphosis (which is specifically alluded to in the dialogue), she shines. And just wait until you see the mousey to mah-velous metamorphosis of Deb! From perfectly timed one-liners to heartwarming interludes with Elliot Gould, who plays her father, Rue lights up the screen with a vibrancy and warmth only matched by the exquisite cinematography. Sugary sweet are her scenes with Johann Urb’s Jay where she is as giddy as a schoolgirl with her first crush; only to then rebound with a sarcastic zinger aimed at Gould or Jonathan Chase’s Daniel.

I love Haaz Sleiman. I had the pleasure of sitting down with him for a lengthy interview for “The Visitor”. He is a warm, affable and genuine person….and he’s awfully easy on the eyes. Here, as Cookie, not only does he get almost equal screen time with Rue, but he brings his warmth and affability to the character, lacing it with perfectly placed and intoned one-liners, going barb for barb with Rue, as the relationship between Cookie and Deb unfolds and defines.

Elliot Gould is flawless as grieving Jewish widower Burt. This man could get every Jewish mother out there a run for her money when it comes to inflicting Jewish guilt on a child. Gould is a master of the dead-pan one liners and has the ability to deliver the most politically incorrect philosophies and dialogue without alienating an audience. And as with Rue’s Deb, Gould’s Burt also undergoes a renaissance of his own, one which lovingly and welcomingly unfolds.

We’ve watched Keri Lynn Pratt grow up on television so it’s nice to see her here as Leann Dorfman. As a money-grubbing, whiney, Beverly Hills diva, she is pitch perfect. A thrill to see are cameos from Catherine Hicks and Scott Wilson, as a bartender with designs on Burt and Cookie’s father, respectively. And I have to give a big shout out for Sonya Eddy. We know her best as no-nonsense nurse, Epiphany on “General Hospital” and in DORFMAN, she brings that same sensibility to Lil G.

You may recognize the work of writer Wendy Kout. Over the years she gave us some great comedy styling with “Mork & Mindy” and “Anything But Love”. And although it’s been awhile, Kout hasn’t lost her touch. Writing with a sitcom progression, Kout has a perfect blend of heart, warmth and comedy and well written characters that are defined quickly. Although predictable, the journey is one of joy that celebrates life. Complimenting Kout’s written words is the work of director Bradley Leong who gives a beautifully lensed and lit travelogue of Downtown Los Angeles. And those beauteous shots we see on screen are compliments of Director of Photography Rachel Morrison. Using eye-popping color in both lighting and set design, lensing is exquisite. From Angel’s flight to Old Chinatown to Walt Disney Concert Hall to breaking dawn and setting suns over the Los Angeles skyline, the images are a love letter to Los Angeles. And keep your eye out for the money shot of the film – a father daughter moment in a bricked walkway lit by red Chinese lanterns with twinkling lights covering trees. A magical moment both visually and emotionally within the context of the story.

And I must thank Kout and Leong for the huge push for MTA and DASH public transportation. They do a splendid job of incorporating the theme of public transportation not only into the dialogue and storyline, but in showcasing the cleanliness and safety of the subway!

The icing on the cake is David Reynolds’ score and music selections. Eclectic and organic, the music buoys the tone of the film rather than overpower it. And it also is transformative in style as the film progresses. My favorite pick of the music is the end credit song, “Glow”. Catchy, sweet and addictively hummable.