Peter Bogdanovich is at his best when he presents an elitist attitude. He doesn't quite understand the common man because, quite frankly, he has never been a common man. This is the trait that most helps him make "The Cat's Meow" a success.

The story is based on a purportedly true incident involving several personalities from the Jazz Age. Bogdanovich heard the story from Orson Welles when the maverick director befriended the young filmmaker. Welles would die a few years later. In the story, wealthy publisher William Randolph Heart throws a party for Hollywood mogul Thomas Ince. On board for the festivites is, most notably, Charlie Chaplin; Marion Davis, and actress and love interest of both Hearst and Chaplin; columnist Elinor Glyn and neophyte gossip columnist Louella Parsons, both Hearst employees; Margaret Livingston, Ince's mistress and Hearst's physician, Docctor Goodman.

Bogdanovich imagines the story, which has never been more than gossip and rumor, unfolding in the manner it is most often discussed. This is the manner that Steven Peros used for his stage play of the incident that the writer reworked for the screen here. In it, Hearst, madly jealous of Chaplin's interest in Davies, accidentally kills one of his passengers in a blinded rage.

Plot is secondary here, however, to Bogdanovich's intererst in creating the period and peopling the film with the most marvelous actors. First and foremost, the film is all Bogdanovich. He does remarkable work here. Unafraid to be creative, he uses the camera perfectly. He provides the most opulent gilded settings for his cast to create in. It is a visual delight to bask in the film the director creates here.

And the actors love it. Kirsten Dunst is fantastic as Davies. She gives the most textured and perfect performance of her career thus far. Cary Elwes is marvellously subdued as dandy and troubled Ince. Joanna Lumley (Patsy on TV's "Absolutely Fabulous") is drag chin fabulous as droll Glyn. Edward Herrmann may have played the wretched cuckold once too often but he still seems wildly perfect as Hearst here. And cult icon Eddie Izzard is brilliantly subdued as Chaplin. Izzard is making a name for himself in indie film and his performance here is flawless. He is Chaplin, the man. He makes Robert downey Jr.'s performance seem laughable.

But the true delight of "The Cat's Meow" is Jennifer Tilly as Parsons. With her trademark giggling schoolgirl voice, Tilly makes Parsons the giddy curled rattlesnake that she surely must have been. It's a delightful performance and the screen simply crackles with energy whenever Tilly appears.

The dialogue in the film is particularly brisk and delightful. Bogdanovich may have rewritten much of Peros, but it seems much for the better. In a Q&A at the showing of the film I attended at SXSW2002, Bogdanovich praised his actors for their ability and diligence in working out the dialogue until it was just right. Izzard seems to have been particularly involved in this but the director seemed to have allowed all of his cast the luxury of improvising and working on their parts to make them work.

"The Cat's Meow" is a marvellous film. Aimed particularly at film fanatics, like Bogdanovich himself, the film is nonetheless perhaps the best look at the prohibition era elite ever made. Bogdanovich creates a cinematic "Great Gatsby" that forges a society bent on imploding upon its own vapidity. Its elitist attitudes and luxurious styles mask only emptiness and heartbreak. The film exposes this and almost silently asks us if, perhaps, in 2002 there has been much change.

Note:

Shot in Berlin and Greece.

In color with a few segments in B&W

There are over 50 songs in the film.

There have been at least 3 other films with this title.

Scripter Steven Peros wrote in to say this about Lodger's review:

Hello, I am the writer of both the play and screenplay for "The Cat's Meow". Thanks so much for your glowing review. However, I must clear up a misconception you have: "Bogdanovich may have rewritten much of Peros, but it seems much for the better. In a Q&A at the showing of the film I attended at SXSW2002, Bogdanovich praised his actors for their ability and diligence in working out the dialogue until it was just right. Izzard seems to have been particularly involved in this but the director seemed to have allowed all of his cast the luxury of improvising and working on their parts to make them work. " Peter may have said "we" worked on the script a lot during the shoot, but I was included in the equation, and Peter would agree if asked. At Peter's request, I was on set for the rehearsal period and throughout the entire shoot. I sat down with Peter and the actors, finessing the script for both aesthetic and financial concerns. I was at Peter's side during ever take. I was not "rewritten" by Peter or anyone else. We all worked together to make it the best we could. I often "rewrote" myself because you learn so much about a scene during a read through or when it's being played out. Anyway, I'd appreciate it if you'd finesse this paragraph to reflect the actual situation. Despite the gripe, I do sincerely appreciate your review. I'm so glad you liked it. All the best,Steven Peros

Report Card Script: A- Acting: A+ Cinematography\Lighting: A+ Special Effects\Make Up: A+ Music: A+ Final Grade: A+

And Help Support Filethirteen! Get Your "The Cat's Meow" Stuff... Search: All Products Books Popular Music Classical Music Video DVD Toys & Games Baby Computer & Video Games Electronics Software Tools & Hardware Outdoor Living Kitchen & Housewares Camera & Photo Wireless Phones Keywords: