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When he tells her he's dying of cancer, her first reaction is anger that he would toy with her feelings in yet another performance piece. She likes him, even loves him, but never quite knows who he is. She comes to wrestle Kaufman and stays to puzzle at him.
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He always wanted to leave you in doubt.Ĭourtney Love is back in her second Milos Forman movie in a row, playing the lover of an impossible man (she was the Hustler publisher's lover in Forman's " The People vs. And no doubt Kaufman made Lawler vow to hit him that hard. OK, so it was staged-but Lawler's blow to Kaufman's head was real enough to tumble him out of his chair. The movie says it was staged (Lawler plays himself). He starts wrestling women in his nightclub act, not a popular decision, and gets involved in a feud with Memphis wrestling star Jerry Lawler. He's crying wolf more than the public is crying uncle. He has never been more famous, or had bleaker prospects. The parabolas of Kaufman's career intersect as "Taxi'' goes off the air. Kaufman steadfastly refuses to admit he "is'' Clifton, and in a way, he isn't. He insists on "guest bookings'' for his "protege,'' an obnoxious lounge act named Tony Clifton, who is played behind impenetrable makeup by Kaufman and sometimes by his accomplice Bob Zmuda. Kaufman is soon a sitcom star, a regular on "Taxi'' (we see cast veterans like Marilu Henner, Carol Kane, Christopher Lloyd and Judd Hirsch playing themselves-DeVito of course is otherwise engaged). standup circuit, where a talent manager ( Danny DeVito) sees something in his act and signs him. The program notes said he had once been voted most popular entertainer on a cruise ship out of Goa. There were 12 people in the audience, and we were desperately important to him. I myself, for example, have seldom been more involved than I was one night at a 36-seat theater in London during a performance of a one-man show called "Is It Magic-Or Is It Manilow?'' The star was a bad magician who did a bad imitation of Barry Manilow, alternating the two elements of his act. He understood that a live performance is rarely more fascinating than when it is going wrong. His material was inspired by shabby nightclub and lounge acts.
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The film, and written by Scott Alexander and Larry Karaszewski, begins with Kaufman as a troublesome kid in his room, refusing to go out and play, preferring to host his own TV variety program for the cameras he believed were hidden in his bedroom walls. Not only is he working without his own net-he's playing a guy who didn't use a net. That he can suppress his own desire to please takes a kind of courage.
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That he can evoke the complexities of Kaufman's comic agonies is a little astonishing. Carrey is himself a compulsive entertainer who will do anything to get a laugh, who wants to please, whose public image is wacky and ingratiating. Carrey is as big a star as Hollywood has right now, and yet fairly early in "Man on the Moon,'' we forget who is playing Kaufman and get involved in what is happening to him. The film has a heroic performance from Jim Carrey, who successfully disappears inside the character of Andy Kaufman. When something is not working in Kaufman's act, it's not working in the movie, either, and it's not funny, it's painful. The movie doesn't turn him into a sweet, misunderstood guy. But essentially it stays true to his persona: A guy who would test you, fool you, lie to you, deceive you and stage elaborate deceptions, put-ons and hoaxes.
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Oh, it brightens things up a little (the cookie and milk evening at Carnegie Hall wasn't his farewell concert, because by then he was far too unemployable for a Carnegie booking). What is most wonderful about "Man on the Moon,'' a very good film, is that it remains true to Kaufman's stubborn vision. It is poetic justice that Andy Kaufman now has his own biopic, directed by Milos Forman and starring Jim Carrey. But Kaufman enjoyed that, too: He was fascinated by the relationship between entertainer and audience, which is never more sincere than when the entertainer is hated.
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The last years of his life, his biographer Bill Zehme tells me, were spent in mostly unemployed show-biz free fall. He was not the most successful comedian of his time.
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