By: debbie lynn elias
Opening in the United States on August 4 and in Canada on September 15 is Armistead Maupin’s adaptation of his own best-selling novel, THE NIGHT LISTENER, based on his own experiences. Directed by Patrick Stettner and starring Robin Williams and Toni Collette, this is just another example of why the majority of written works should not be adapted for the big, or small, screen.
As has been repeatedly demonstrated and discussed in countless novels, films and even the front pages of our newspapers, some of the most fascinating and often disturbing events of our times and society occur under cover of darkness. Whether due to a subconscious sense of protection offered by a night’s cloaking or perhaps because of a sense of “getting away with something” or doing the unspeakable when it is unseen, whatever the reason, it is often at night that very real truths are often revealed. Such is the premise of THE NIGHT LISTENER.
“Noone at Night” is one of the most popular of all the public radio shows thanks to the gifted-storytelling by host Gabriel Noone. In the weekly late night slot, host Gabriel Noone’s life is a disaster. Depressing and droll by night, Noone’s personal life is even moreso. Diagnosed as HIV-positive, Noone’s long-time boyfriend Jess has ended their relationship. Making things even worse, Noone has been unable to fulfill his obligations to the radio network to supply new radio programs.
As is part and parcel to a visible career in the entertainment industry, Noone is approached by a book publisher friend who has a “must read’ manuscript that he gives to Noone for feedback. “The Blacking Factory” is the dark memoirs of a young 14 year old boy named Pete Logand. Suffering abuse from his mother and her less than desirable string of sometime lovers to the point of even being deemed a “sex slave”, his story is not only autobiographical but surprisingly well written for a 14 year old. Now “adopted” by a young social worker named Donna Logand, Pete reaches out to Noone, who was immediately drawn to the boy thanks to his impassioned and inspirational story, and calls Noone at home. (And just how did he get Noone’s home number?) Similarly, Noone believes this is a story worth telling to the masses. Adding even more drama is the fact that Pete has suffered with HIV and AIDS and is in declining health. And of course, thanks to his heaping praises on Noone for the comfort and joy afforded him by Noone at Night, it’s not long before Pete and Noone develop a long distance friendship. And Noone, anxious and perhaps over-zealously trying to mend his own broken heart, puts the cart before the horse and envisions himself as a father figure to young Pete.
But as should come as no surprise, something smells rotten in Denmark, or in this case, Wisconsin. The more Noone talks to Pete, the more questions he has and the more things just don’t add up, and one of the biggest inconsistencies lies within the voices of Donna and Pete. Yes, listen closely and you shall hear. . . . Determined to check out the story for himself, Noone flies to Wisconsin to meet with Pete and adopted mother Donna. Appearing as a woman looking for a husband, Donna takes a shine to Noone, but is then taken aback when she learns the real purpose of his visit – the truth.
Robin Williams does an adequate job as Gabriel Noone. His downfall, however, is giving a performance that feels as if he is still trying to prove he can do dramatic roles. Robin, we know you can. You don’t have to try so hard to the point of making this look like work and strained effort. Just take the role and have fun with it. Enjoy it. Become it. Here, he is just too forced. Toni Collette, although admirable as Donna, gives the impression that something is missing in her performance. While understated yet at times sympathetic, as does Williams’ Noone, she just screams martyr. Sadly, in certain scenes, I felt like I was watching a tennis match with the title of “Best Martyr” being volleyed back and forth. Rory Culkin is solid as Pete and gives the most convincing performance of the bunch. And as if merely watching a “Will & Grace” rerun, Bobby Cannavale plays Noone’s partner Jess.
As has often been said, truth is stranger than fiction. But I wonder just how much of the story is actually truth and how much embellishment. Although a novel, the screenplay adapted by Maupin and co-written by director Patrick Stettner and Terry Anderson, feels like a short story being stretched to fill time. On screening the film, I kept envisioning a tv stage manager from days gone by pulling his fingers together and wide signaling the live on-air talent to s-t-r-e-t-c-h. Perhaps due to three screenwriters, the story also feels as if multiple voices are struggling to tell their individual tales, with each stepping on top of the other, leading to convoluted dichotomies and throw away one liners that are never given a backbone of support.
Patrick Stettner’s direction, however, does bode well for building tension (or perhaps frustration) but never really sheds light on the true drama or mystery of the original story. And with a script that goes in so many directions with so many voices, the lack of continuity and completion comes to the forefront. Despite some superb editing by Andy Keir, which really helps hold one’s attention, nothing ever comes to fruition. The story builds, the editing mirrors the build and keeps you waiting and wondering “what the heck is going on” but an answer isn’t forthcoming.
THE NIGHT LISTENER is just that – for night listening. Good to pop in the DVD if you’re having trouble falling asleep.
Gabriel Noone: Robin Williams Donna Logand: Toni Collette Pete Logand: Rory Culkin
Directed by Patrick Stettner. Written by Armistead Maupin, Patrikc Stettner and Terry Anderson, adapted from the novel of the same name by Armistead Maupin. A Miramax Pictures release. Rated R (82 min – US version)
Photos © 2006 – All Rights Reserved
