It might be a little simplistic to call this "Bill Murray'sMovie",because in truth,this film works just as well because it has afantastic support from Richard Dreyfuss,Julie Haggerty,CharlieKorsmo,KAthryn Erbe and director Frank Oz. Still,you cannot watch thisfilm without feeling like Murray's complete abandon in this film iswhat gives this film its pep,spark and life. This might be one of themore energized performances of his long and well-padded career.<br><br>Dr.Leo Marvin(Dreyfuss,who has settled into being the 'Uptightfuddy-dudd' roles from here,as opposed to the more restive,youthfulroles of past movies like "Jaws" and "Goodbye Girl")seems to have itall. Loving wife,healthy,normal kids and a career that is on the vergeof taking off:a comfortable private practice in New York and aself-help book about to be published nationwide. At the last minute,heaccepts another colleague's patient(for whom he does not wonder as towhy his peer is so breathlessly trying to pass this patient off tohim):one Bob Wiley(Murray). Bob doesn't have anything wrong with him;hehas MANY things wrong with him. Multiphobic,clingy and more than alittle under-developed in his sense of emotional attachment,Bobmisreads the good doctor's brush off(As the doctor gets ready for aLabor Day getaway with his famille)as being a cure-all,and isimmediately smitten with the doctor's methods,approach,diagnosis andtreatment. He decides he's going to insinuate himself into Dr.Marvin'slife(in somewhat of a mixture of gratitude and need),and follows him tothe rural,New England lakeside vacation where the Marvins are staying.<br><br>Alvin Sargent and Laura Ziskin's story and script make the actors'moves and lines so easy you'd almost think there were elements ofimprovisation. But Murray and Dreyfuss are(and not to belabor a pointhere but...)the key here. Murray's socially oblivious and free sense ofbonding clashes DRAMATICALLY with the button-down professionalism ofDreyfuss' doctor,and as Muray thinks himself "Better",Dreyfuss' shrinkseems to be getting worse,confounded by his unwanted patient'spersistence and loyalty. While the unabashed enthusiasm of Murray'scharacter might drive away some viewers who might see this as"annoying" or "too much", Murray fans and,I think,fans of sort ofodd,non-formula comedies will DEFINITELY appreciate the whole story andrhythm of this film. Perhaps it's a bit too early to state this(thoughthis film,which I first caught in the theaters in first release sixteenyears ago,has had more than a decade to simmer in the memories ofmoviegoers),I feel this is something of a modern comedy classic. I'veseen this film no less than three times and,to chime in with an IMDbmessage board poster,this IS a truly re-watchable movie.
What About Bob?
What About Bob?
Doctor Leo Marvin, an egotistical psychotherapist in New York City, is looking forward to his forthcoming appearance on a "Good Morning America" telecast, during which he plans to brag about "Baby Steps," his new book about emotional disorder theories in which he details his philosophy of treating patients and their phobias. Meanwhile, Bob Wiley is a recluse who is so afraid to leave his own apartment that he has to talk himself out the door. When Bob is pawned off on Leo by a psychotherapist colleague, Bob becomes attached to Leo. Leo finds Bob extremely annoying. When Leo accompanies his wife Fay, his daughter Anna, and his son Siggy to a peaceful New Hampshire lakeside cottage for a month-long vacation, Leo thinks he's been freed from Bob. Leo expects to mesmerize his family with his prowess as a brilliant husband and remarkable father who knows all there is to know about instructing his wife and raising his kids. But Bob isn't going to let Leo enjoy a quiet summer by the lake. By ...
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