1997’s “Fathers’ Day”, directed by Ivan Reitman.
Starring Billy Crystal, Robin Williams, Bruce Greenwood,
Natassja Kinski, Julia Louis Dreyfuss, and Charlie Hofheimer.
In “FD”, Billy Crystal plays a twice divorced lawyer (now
married to Dreyfuss), approached by an old flame (Kinski) who tells him that
her teenage son is missing after a fight with her partner (Greenwood). The
catch? Crystal’s the father. Crystal then hits the road to find the son he’s
never met before, prepared only with a photograph. We then meet the Robin
Williams character, playing a manic depressive writer who’s attempt to commit
suicide is interrupted by Kinski’s reaching out to him. She also tells Williams
that he is the father, and Williams strikes out on the road as well. It doesn’t
take long for Crystal and Williams to connect along the way, and figure out
their predicament. The manic depressive Williams is inspired by the life
affirming news (even if it’s not true), and Crystal comes along, either by
curiosity or contractual necessity. Further complicating matters, Greenwood
also hits the road in search of his step son.
Filmed in 1997, the film feels at least a decade dated, both
in concept and it’s fading stars’ charisma (and mulleted hair). While it may at
times resemble a hackneyed version of 1988’s superior “Midnight Run”, it’s
closer in spirit to “Plan 9 from Outer Space” and “Weekend at Bernie’s”. The
only thing about the film that does feel relevant for it’s respective time, is the
awkward corporate synergy between the movie’s characters and the band, Sugar
Ray. Not once, but twice, do we get to see the two hit wonder in concert action,
not counting the backstage scene. To boost this premise, we also get a mime
appearance, as well as a bizarre Mel Gibson cameo. For a comedy, “FD” is devoid
of laughs, and the home run gags, such as a comatose teenager being cleaned in
the shower while both the person on the phone and a nosy bellhop confuse what
is going on with pedophilia and swinging, don’t just fall short- they keel over
in a an explosion of dumpster fire dust.
It’s shocking that Williams appeared here in the same year
that he won an Oscar for his work on “Good Will Hunting”. There is an awkward
scene where he does his signature rapid fire impressions, but the rest of the movie
he wavers between shrill hysteria and insecurity that made my skin crawl. And
that’s before you contrast his character with the wounded man who would ultimately take
his own life in 2014. There’s also very little chemistry between him and Crystal,
with Williams’ mental instability poorly meshing with Crystal’s bizarrely
miscast tough Type A personality phoniness, as they both become son smitten.
Greenwood’s presence in the film is a shame too, with him appearing in the
superior “The Sweet Hereafter” the same year as well. Here, his character is an
afterthought, confined to the comedy hell of being tipped in an outhouse,
before just abandoning his search for his step child. Perhaps worst of all,
Hofheimer’s teenager character isn’t wayward and developing- he’s a sociopathic
creep- though in his defence he’s much like his mother who has no problem lying
to the 2 main characters that she uses as volunteer bounty hunters by lying
about their paternity. Crystal sees through the charade and explains how great
it is- but it’s not. Sounds like the movie itself. This Father’s Day, it would
be best to watch… anything else.
1.5/5
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