In the pantheon of good Bill Murray roles — “Caddyshack,” “Groundhog Day,” “Lost In Translation” — his smooth-talking character within the new comedy “On The Rocks” ranks as among the finest.
He performs Felix, a suave New York renaissance man and artwork vendor in Sofia Coppola’s great film — the pair’s first narrative function collaboration since 2003’s “Lost In Translation” — which premiered Wednesday night time within the New York Film Festival.
Murray, bless him, introduced me again to the New York all of us miss like hell; the town of late-night spontaneity we’re informed we would not get again.
All of us, for instance, have skilled some model of this scene: In the center of the movie, a cop pulls over Felix’s pink sports activities automobile, which he’s been rushing like a NASCAR driver up and down Manhattan, and spots a bottle of Krug Champagne within the cupholder. The officer tells him to get out of the automobile.
“O’Callahan. Are you Tommy’s boy?,” he says to the shocked cop. Two minutes later, after regaling the man who nearly arrested him with tales about his grandfather and his household house within the Adirondacks, Felix is off the hook. Every waiter is “George!”, each occasion is, indirectly, his personal. What any of us wouldn’t give for a spontaneous night time of rule breaking and lounge hopping with a real NY character, like Murray’s, once more.
Coppola’s humorous and slyly emotional movie, which must be cherished, is the closest we’ll get to that for some time.
The rowdy night is spent with Laura (Rashida Jones), Felix’s much less flashy daughter who suspects her husband Dean (Marlon Wayans at his most tender) is dishonest on her with a leggy new enterprise accomplice. Days earlier, Felix had Dean adopted, and noticed him having dinner at J. Sheekey in London and procuring at Cartier on Fifth Ave. Suspicious.
So, the duo hops Felix’s automobile and secretly trails the hubby round New York to attempt to catch him within the act. The film is an expense account bar crawl dream: they go to 21, the Soho House and Bemelmans Bar on the Carlyle. Felix brings alongside a tin of caviar — “American,” he admits — whereas cooly rattling off his theses on masculinity.
“He’s male,” Felix, a infamous womanizer himself, says of Dean. “It’s his nature. Males are pressured to struggle to dominate and impregnate all females.” Murray, as solely he can, makes a comment that may get most males slapped within the face completely lovely.
When Murray quietly discusses a de Kooning portray or bonobos or why the Plaza is the right resort for infidelity, each certainly one of Coppola’s strains sparks with pathos and raunchiness — like a TED Talk at Hooters. He additionally forges a fragile, candy, plausible father-daughter relationship with Jones, whose textured Laura is but another excuse to like this film.
Laura lives in Soho together with her two daughters and husband, whereas making an attempt to put in writing a novel and enduring her personal Groundhog Day loop of taking the women to high school and being pressured to pay attention to a different, single mother dish about her newest boy toy within the pick-up line.
Outside of Murray’s basic New York persona, Laura’s house life options a few of Coppola’s best writing. She isn’t sit-com harried or brusquely skilled. Laura at all times carries a Strand tote bag and is reliant on a close-by child sitter. Jones’ restrained frustration will ring a bell with many.
But it’s Murray who’s turned in a contemporary New York film treasure. File Felix proper subsequent to J.J. Hunsecker, Arthur Bach and Addison Dewitt.