
Bohemian Alex Morrison has just finished directing his first feature-length movie. In its previews, the movie is considered a critical, artistic, and surefire commercial success, so Alex seemingly has his choice of what his next project will be. Alex has a few ideas, like a biopic of Lenny Bruce or a movie about a black uprising in Los Angeles. As he makes the rounds of both the Hollywood community and European movie centers for ideas, he fantasizes about movie scenarios of h... (Full plot summary below)
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Bohemian Alex Morrison has just finished directing his first feature-length movie. In its previews, the movie is considered a critical, artistic, and surefire commercial success, so Alex seemingly has his choice of what his next project will be. Alex has a few ideas, like a biopic of Lenny Bruce or a movie about a black uprising in Los Angeles. As he makes the rounds of both the Hollywood community and European movie centers for ideas, he fantasizes about movie scenarios of his those everyday situations, influenced by his movie idols, some of whom he actually meets, like Italian director Federico Fellini and French actress Jeanne Moreau. He's also wondering what to do about his personal life: does it make sense for him to "move up" with his wife Beth and their two daughters from their middle-class lifestyle? If so, filmmaking must not only achieve his main purpose of saying something meaningful, but also must be commercially successful. But must the need for commercial success ultimately take artistic control out of his hands?
Leave your thoughts about Alex in Wonderland.
| Chicago Sun-TimesRoger EbertWhat makes it so good is the gift Mazursky, Tucker and their actors have of fleshing out the small scenes of human contact that give the movie its almost frightening resonance. |
| EmanuelLevy.ComEmanuel LevyMazursky's follow-up to his striking debut, Bob & Carol & Ted & Alice, is quite a pretentious imitation of the seminal 81/2 by maestro Fellini, who makes a cameo in the film but the acting of Sutherland is solid. |
| User ReviewStephen CAfter the success of Bob Carol Ted and Alice ,Director Paul Mazursky and producer Larry Tucker were stumped with what to do next. So why not make a film about making a follow up movie and in the mix pay tribute to the ultimate film about a block Fellini's masterpiece 8 1/2. Donald Sutherland plays Alex Morrison a new director who has a lot of buzz surrounding his first film, while he waits for that film to be seen Alex fret over what to do next. What follows is an interesting dilemma piece crammed full of references to 8 1/2 the most obvious being the casting of Fellini himself who is approached by Alex while he is editing his latest film. Sutherland is great as Alex and Ellen Burstyn is equally fine as his put upon wife. Mazursky has a very funny cameo as an overexcited producer and the film has lots of fun playing the old one for the studio one for yourself system of making films which was rapidly changing with the release of Easy Rider . Its also amusing to think that while Mazursky was making this film Robert Altman was making Brewster McLoud for the very same studio . Which shows again how interesting 70s films really where. |
| User ReviewJenna IBoy, this is unendingly self indulgent, with scenes that vary from incredibly questionable to total comedic brilliance, but at the end of the day I think it just manages to come out on top. Every time you think this movie goes too far, it manages to flicker a light of self-awareness that undercuts its previous discretions. The movie treats us the same way Alex treats his wife - it lashes out and then apologizes and then makes us laugh and then lashes out again. When it's funny it's outstanding, I laughed out loud as much as I cringed. I almost want to cut another version of this movie with just the satirical bits. When it got sexist, it apologized through pointed commentary via Ellen Burstyn's character. Where it got White Knight about race, it gave us a bunch of lily white school children putting on a play about "we the people of South Africa..." So at the end of the day it largely balanced out for me. Though I will say one place where it is super dated is in its use of completely unnecessary, casual female nudity. Re: the way too over the top beach naive-white-man fantasy scene and Burstyn getting dressed on screen for literally no reason. But that comes with the territory so I guess whatever. Oh and questionable parenting in some scenes but hey, who am I to uh...judge...errrr... though even that was half addressed in the scene where Alex rails against "square parenting," just before both of his kids show up with ho hos and turn the TV on. For a meandering movie about a man who can't make a decision to save his life, Alex in Wonderland strangely comes together. Though maybe in the loosest sense of the word as it ends rather vaguely with Donald Sutherland wandering around his empty house having just sold it (ugh why it was great), implying he does eventually figure something out, enough to make some money to move to a bigger and better home. Shout outs to Fellini hilariously as himself, Donald Sutherland and Ellen Burstyn absolutely nailing it all around, the goddamn amazing wardrobe for Sutherland, and Mazursky casting himself as the creepy Hollywood producer he obviously can't stand (with the great visual parallels between his wardrobe and hair vs Sutherland playing him). |
| User ReviewEric BKinda seems too derivative, but there are some interesting things going on, showing the strange world that is Hollywood and the obsessive nature of filmmakers. |
| User ReviewThe MDeserves more cred. Donald is great as Alex. The confused, open-minded director, trying to come up with his next film-project and at the same time keep his family happy. |
| User ReviewGregory Wso so drama about the battle between art & commerce to things that are usually at odds with each other. |
| User ReviewJohn KOk at best and sutherland is just grungy to look at with that beard and nasty early 70' haircut. |