REEL CRITICS

Art imitates life in ‘Almost Famous’

The year was 1973. It was the year of “The Brady Bunch” and Watergate.

Earth Day and the EPA. Bell-bottoms, peasant tops and chain belts. Shag

carpeting and shag haircuts. Beaded curtains, mirrored sunglasses and

Clearasil.

It was the year Americans encountered their first oil shortage, and

Vice President Spiro Agnew said the youth of America were being

“brainwashed into a drug culture” by rock music, movies, books and

underground newspapers.

In 1973, Cameron Crowe, the acclaimed writer-director of “Jerry

Maguire,” was a 15-year-old aspiring rock journalist scribing for a San

Diego underground magazine.

Through his latest film, “Almost Famous,” Crowe ardently recounts his

formative years via its main character, William Miller, a wide-eyed,

baby-faced writer thrown into the decadence of rock ‘n’ roll.

Art imitates life with Crowe’s shrewd casting of a fresh-faced

newcomer surrounded by recognizable talent. Patrick Fugit is so

convincing as the well-intentioned, starry-eyed “uncool” William, that

one can’t help but identify with him.

So, take a road trip. Slide behind the wheel of your ’69 Camaro, slip

on your mirrored shades, plug in your favorite 8-track tape and cruise

down the back roads. “Almost Famous” is a well-crafted film that offers

much more than basic entertainment.

William procures a freelance writing assignment from Rolling Stone to

cover Stillwater, a fictitious band on the verge of stardom, and joins

their tour. Traveling with the band, William observes their

self-indulgent lifestyle of wild parties, promiscuous sex, drugs and

alcohol.

The legendary rock critic Lester Bangs (Philip Seymour Hoffman)

cautions William not to become friends with the artists and “to write

with honesty and be merciless.”

Bangs believes Rolling Stone’s motivation is to popularize and market

rock ‘n’ roll out of its distinction and into its extinction.

Gradually, William loses his objectivity. His wholesome values and

quiet resolve anchor the band’s wild destructive nature. He becomes their

confidant and also a catalyst to their own growing awareness.

As a writer, Crowe is witty, incisive and known for his rich dialogue.

As a director, his use of imagery and implication unmask the emotional

restraint of his characters. With Crowe, nothing is as simple as it

seems.

In one scene, a sly act reveals William’s idolization of Russell

(Billy Crudup), Stillwater’s lead guitarist. After a behind-the-scenes

ego clash between the band’s lead singer, Jeff (Jason Lee), and Russell

over a promotional T-shirt that depicts Russell as the most prominent

band member, William snatches the shirt as he’s leaving.

In another scene, fleeting action divulges William’s teenage crush.

Hearing the familiar voice of Penny Lane (Kate Hudson), a Stillwater

groupie, emanating from inside Russell’s hotel room, William deviously

reverses the “do not disturb” sign.

Emphasizing the anti-establishment theme is a single dynamic

character: William’s over-protective but adorable mom, Elaine (Frances

McDormand). She is a hilarious, yet ceaseless, reminder of the

establishment’s ethic of responsibility. Her barrage of anti-drug

messages await and embarrass William at every hotel stop.

The ‘70s was an era of contradiction: liberating as well as

destructive. Even as a wistful, ex-disco diva, nostalgia couldn’t

influence my perception.

With honest, natural portrayals and a heartwarming story, “Almost

Famous” is one of the best films I’ve seen this year.

* JULIE LOWRANCE, 40, is a Costa Mesa resident who works at a Newport

Beach overnight aircraft advertising agency.

Watch ‘The Watcher’ at matinee

“The Watcher” depicts the unsettled affiliation between a serial

killer (Keanu Reeves) and the burnt-out FBI agent he has followed to

Chicago to taunt by strangling more women. Like most movie serial

killers, Griffin is not killing just because he is starved for attention.

Agent Campbell (James Spader) is in a new city, on disability and

heavily addicted to prescription drugs, thanks to his last encounter with

the psycho killer, whom he unsuccessfully tracked in Los Angeles. He lost

a loved one because of this case.

But Campbell snaps into action after receiving a photo of the next

intended female victim from Griffin.

With the aid of his shrink, Polly (Marisa Tomei), we see that there

might be a creepy relationship between Campbell and Griffin -- neither

can exist without the other.

Too bad Tomei’s role revolved around sitting down. She’s much more

talented.

Reeves has difficulty performing in the essential cavalier manner of a

psycho killer. He’s not menacing enough.

But, Spader proves in this film that he can play more than just a rich

spoiled druggie.

Director Joe Charbanic leaves the world of music videos to debut with

“The Watcher.” He moves the story along at a fast pace. He certainly used

every knob on the camera and in the sound studio to ensure suspense,

terror and chaos.

Check out the cemetery scene. It was unbelievable.

Of the serial killer type, it’s nothing like “Silence of the Lambs” or

“Seven.” No hands over the eyes, gasps or squirming in your seats. But

“The Watcher” is watchable if you like the dark side.

Take in a matinee, forget full price.

* GAY WASSALL-KELLY, 60, is the editor of a Balboa newspaper and is

active in the community. BILL KELLY, 59, is an industrial engineer.