Film of a witty play. An elite, slightly phoney and shallow NY art couple make a deep connection with a brilliantly talented black gay con artist
Not quite as impactful as A Few Good Men, made around the same time, but nonetheless one of the better film adaptations of a good play in recent decades. One views it without the feeling of audience manipulation one gets from AFGM.
NY art elite couple, Sutherland & Channing, are just heading out to a swanky restaurant with South African goldmine owner, McKellen, with a view to an art investment deal. They live in a beautiful apartment, just off Central Park, surrounded by works by Degas, Cezanne, and especially a double-sided Kandinsky. Sutherland's party piece at home is to rotate the Kandinsky to show guests the artist's take on both order & chaos. The bell rings, and they admit a smartly-dressed, young Will Smith, who's just been stabbed, but claims to know their children at school in Harvard.
The couple spend time administering first aid to Smith, and thereby lose their reservations. However, he amply repays his debt by cooking and speaking brilliantly at their impromptu home party, outshining even Sutherland, whose business success in the art world is founded on his anecdotal wit, and the social connections this makes for him. McKellen is delighted with his evening, and agrees to invest in the art deal. The couple let Smith stay overnight, and give him $50 `walking around money' to alleviate his alleged mugging. In the morning, things turn sour when the couple discover Smith spent the money on a male hooker, who runs nakedly around the expensive apartment, upsetting the paintings, before the two of them make an abrupt departure.
The couple find that NY Society is gripped by their home-invasion anecdote, which they update as more information comes in from the police, and the investigations of their children in the Harvard area. They begin to dine out on the tale, and Sutherland's art business succeeds as a result.
Later, down on his luck, Smith phones Channing, with whom he made a particularly strong mother-son-type connection, hoping that she will vouch for him with the police when he owns up to his scam-artistry. He tells her that he feels that he shares many of Sutherland's talents, and all he needs is a start to make it in the art world. Indeed, Sutherland himself makes clear that his specialised combination of art knowledge, social connections, and high class flim-flam is not a business his children can inherit, so there is a potential opening for a young man of talent. However, these glittering plans all fall flat. Traffic prevents Channing making the rendezvous. Smith is imprisoned, there are rumours that he's dead, and she mourns the loss of what could have been, especially given the bad relationship she has with her own children.
Thus far, the viewer has been swept along by the superb interiors, the witty script, the unfolding mystery of Smith's true identity, and the excellent performances of Smith, Channing, and, above all, the charming, but detectably shallow, Sutherland. However, just at the point where Channing is upset with Smith's possible death, the director cleverly shows Sutherland at a disadvantage, bluntly commanded to update his anecdote by a Society hostess, and giving the viewer the sense of a stale, twice-told tale. Thus, we are in full sympathy with Channing's outburst, calling out her husband for reducing Smith's life to an anecdote. Later, privately, she all but calls him a phoney, and stalks off, presumably to the divorce court.
The early 90s chit-chat is full of the politics of the revolutions of 1989 and the New York gourmet explosion of the 80s. An early sign that the play is not in full sympathy with the art couple comes in the nationality of their guest. South Africa had very recently come under black rule, but we are told McKellen's character is still an exploiter of thousands of underpaid black miners. Gay politics, and even AIDS, are also touched on, lightly, but repeatedly, and the sense of loss of a black young man unable to achieve his potential in our world seems all the stronger for the playwright because Smith's character is gay.
The film's title comes from Channing's musings on how to get back in touch with Smith when he disappears. She knows, in theory, that they are separated by a chain of no more than six friends, but who these people are remains frustratingly unknowable. The phrase is now a synonym for global human interconnectivity.
Overall, highly entertaining, though the ending is abrupt and without clear meaning. 8/10
Verified purchase: YesCondition: Pre-owned