Guess Who (2005)
Anyone expecting a remake of the
gentile and sophisticated 60's classic "Guess Who's
Coming to Dinner" will find themselves disappointed
in "Guess Who." And yet, when this new film relaxes
and allows itself to simply be about the subtle differences
in black and white culture in post- millennium America,
it often is compelling, poignant and relevant.
Ashton Kutcher is certainly no Sidney
Poitier. Here he is relegated to the role of "goofy
white boy." But his amicable demeanor, his "regular
guy" charm, his cute smile, and his surprisingly light
touch with the material helps to makes us really like
his character. He isn't playing Kelso here, his TV
character from "That 70's Show," but he also isn't
trying to play against type, as in the off-kilter
"The
Butterfly Effect." His chemistry with co-star
Bernie Mac is also quite palpable and the two of them
work very well at presenting this modern look at race
relations. Mac, another actor not normally known for
his deft touch, is cast in a rather ham-handed and
stereotypical role but somehow manages to make it
work nonetheless.
Certainly, when "Guess Who" tries
to be comedic, like the awful and stupid go-kart sequence
mid-film, the piece loses all momentum. These moments
of ineptitude, which afflict both Mac and Kutcher
with embarrassment equally, are the fault of a half-assed
script and another Hollywood piece of gunk that was
obviously designed by committee. We certainly deserve
better as an audience and Kutcher and Mac, though
not particularly noted as grand thespians, deserve
a little more faith than this script is willing to
invest in them as well.
The most misguided use of humor
here however is the gay jokes which range broadly
from the offensive to the amazingly positive. There
is a "metrosexual" character here used for humor and
the effect is appalling. Mac's reaction to the character
is just about as offensive as it gets and the final
revelation that the man is married to a female hardly
makes any sort of likeable message possible. But then,
conversely, there are many homoerotic moments between
Kutcher and Mac when they sleep in the same bed that
are quite nice and handled warmly in the script. Kutcher's
charm and amiable nature again helps to make these
moments friendly and positive even though it may reflect
a gentle nod towards male bonding more than acceptance
of homosexuality. Still, the relaxed and secure nature
of Kutcher's gentle humor about the situation is quite
wonderful and gallant.
The film features a wonderful supporting
cast of females to circle around the main duo. Judith
Scott is wonderful as the mother providing the voice
of reason in a role that demands little of her. Kellee
Stewart is cute and fun as the young sister, giving
the film just the right edge just when it needs it
most. And finally there is Zoe Saldana, who provides
a wonderful love interest for Kutcher. Their moments
together often evoke the hopefulness and trepidation
of all young lovers and engaged couples. Again, this
film works best when it deals with honest moments
and touches lightly on desires, emotions and real
problems faced by the young couple. We like Saldana
and Kutcher as a couple and we want to see them succeed,
much as we did with Poitier and Katherine Houghton
in the original 60's film. Thankfully, 40 years later,
we have much more hope that they will.
"Guess Who" could have been a film
about modern race relations to rival the original
masterpiece. Kutcher is certainly up to the challenge
and Mac even proves here that he would be a force
to be reckoned with given an opportunity to prove
himself in some quality work. It's too bad that somebody,
somewhere along the way thought that this piece should
be a comedy with pratfalls, misunderstandings and
a overbearing father figure to make it "funny" and
therefore marketable. While race relations have certainly
made bold strides in the past forty years, the films
made by committee in Hollywood these days are a sure
sign that, in relation to their audiences, the studios
continue to take giant steps backwards.
Notes:
Also with Hal Williams and Nicole
Sullivan.
Betty Thomas is an "Executive Producer."
At one time the film was going to
be called "The Dinner Party" in another title that
vaguely references the film this is loosely based
on, 1967's "Guess Who's Coming to Dinner."
Kutcher has said that he wanted
to make the film in part due to the odd reaction people
had to his friendship with Sean "P. Diddy/Puff Daddy"
Combs.
It's been said that almost $100,000
was spent to digitally remove Kutcher's red Kaballah
bracelet from ever scene in the movie.
Viewed in Austin in April 2005.
