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The Man from Elysian Fields

In "The Man from Elysian Fields," Andy Garcia plays Byron Tiller, a failed novelist who can't seem to get a break in the publishing world. With his first novel scoring meager sales, no one wants to front the money for his latest work; with nowhere else to turn to, Byron finds himself in the office of Luther Fox (Mick Jagger), a smooth-talking male escort whose service, known at Elysian Fields, offers comfort to the lonely debutantes of Los Angeles. At first hesitant, Byron ultimately signs on not out of the promises of pleasure, but with one thought on his mind: supporting his wife (Julianna Margulies) and toddler son. ***

First and foremost, George Hickenlooper's film is about the lengths we go to in order to survive in both mind and body. Byron's actions aren't exactly the most honorable one could think of, but given the context of the situation he finds himself in, and the fact that no one wants to lend a helping hand, he's merely turning to what he sees as his only available option. There's a terrific line of dialogue given by one of his fellow escorts, which I think summarizes the whole of the film's powerful underpinnings. When asked why one is compelled to get into the profession, he replies, "It's simple. It's the last resort for a man who feels impotent." ***

There is a distinct pattern that touches each of the film's many characters, none more evident than Byron's main client (Olivia Williams), the wife of a dying author (James Coburn) who pleads with her new beau to help her husband finish his last novel before Death comes a'knocking. Consider her actions in the aftermath of his passing: by refusing to give Byron credit for his efforts, some will look at her as cold and vindictive, but upon further thought, is this such a big leap from what Byron himself is doing? By trying to protect the image of her husband, she, too, is merely doing what is necessary to hold on to life. ***

These characters come to life through some startling, honest performances from just about everyone we come into contact with. Andy Garcia expertly conveys the ups and downs of Byron's risky lifestyle while handling the tried-and-true ending, where consequences are realized and dealt with, with terrific force. Julianna Margulies makes what would otherwise be a routine supporting character intensely gratifying, especially when things take a turn in their marriage. Olivia Williams and James Coburn also do a fine job here, while Mick Jagger threatens to steal the show out from under them singlehandedly with his impressive wit, verve, and surprisingly refreshing, debonaire charm. If sex had a name in the world of "Elysian Fields," it would be his. ***

The film was written by Phillip Jayson Lasker, a longtime writer for the 80's hit sitcom "The Goolden Girls," whose first motion picture screenplay is full of all the smart dialogue and the edgy situations that we have come to expect from some of the best filmmakers around. In the hands of director Hickenlooper, the material comes alive: it feels fresh, exciting, and has something to say about the human condition under duress. "The Man from Elysian Fields" has a subtle energy to it that is hard to pinpoint in most films, a wit that that is at certain times incendiary, and an overall grace and flow that keeps this rocky road an exercise in smooth, cool moviemaking of a high caliber.

Another very sharp image transfer from Columbia. The picture, presented in its theatrical ratio of 1.85:1, looks quite stunning throughout its entire, blessed with a vast array of vivid, impressively saturated colors that don't bleed and remain true to life. Contrast is exceptionally good for an independent feature, with only some slight instances where there are blemishes; shadow detail is satisfying, and blacks are completely solid. Edges are remarkably sharp, with small object detail exquisite in many places; only some slight enhancement halos are visible. The overall picture suffers not from the presence of some minor film grain, which generally tends to add to the experience, depending on what type of film one is watching. All-in-all, a solid effort. ***

The sound is mastered in Dolby Digital 5.1, and is also quite elegant for what it is. Given the subject matter, the track only uses the rear channels for the score, but when the back end becomes engaged, it provides a nice ambient balance. The front end separation is splendid, and dialogue sounds natural throughout, with some deep bass here and there to add to the emotional upwelling that takes place in key scenes. Well-done!