The Wasteland Reviewer

The Wasteland Review Request: Noises Off (1992)

What does Hollywood like to make films about most? Hollywood. Duh. There has been a long-time fascination with making films about filmmaking. Some of the great classics of Old Hollywood like Sunset Boulevard and Singing in the Rain do just that. But there are other art forms that can be explored too including the film’s sibling, “The Stage”. Films about making stage musicals and plays are less common than ones focused on film but still offer great efforts, including modern examples like Black Swan and Birdman. But Peter Bogdanovich found himself inspired to create a zany comedy on the stage shot on film in the form of Noises Off. 

Does Noises Off stand up with some of the classics mentioned above in terms of loving art and delivering compelling films at once? Not quite. But it is hard to argue with the fun you will have watched this film. The story is about a director (Michael Caine) who is controlling, specific, frustrated, insecure, and a bit of a womanizer. He wants to put on this famous British play but in America. What he must contend with is a crazy cast of prima donna actors who have all their own insecurities and peculiarities. There are some bigger framing elements of the story (which are serviceable and fine) that glue together three distinct acts.  Where this film soars is when it is leaning into the mayhem that is this stage production. 

But why do these three distinct parts work so well together? The film begins with the dress rehearsal of the show (but all the actors think it is a tech rehearsal). Then we jump to a future performance of the show except everything is told from backstage instead. But finally, there is the final piece that shows the show being performed live and everything imaginable goes wrong to the laughs and applause of the audience. The elements that work best are because of the humor. There are great verbal sparrings happening between almost every character including the director, the actors, and the stage crew. No one is happy and it makes for a crazy fun situation. The clever framing of the film and how each piece is staged for maximum drama and laughs is quite impressive. But it is the physical humor that really makes this work. The film slowly gets out of hand and each new segment of the film heightens the madness. If you can get through any of these three parts without cracking a smile at the minimum, that is quite shocking. 

How does this unique script help set up such a fun time? One of the big challenges of the film is that none of the actors of the director are particularly easy to like. But the devil is in the details because by the end of the film, we fully understand each of them. There are some elements that under explain and certain moments are hard to connect with as the script has left the audience behind too far but in other ways the subtle is pitch perfect. There are moments where you learn so much about a character by how they speak with the rest of the cast. Some don’t finish a single thought while others are constantly overstepping boundaries with the others or even one asking too many questions that show aloofness. This script might not be perfect in weaving all these sections together like a cohesive narrative but it sure does paint a full picture of each character in the main ensemble. The dialogue is also sharp and biting which Bogdanovich (through direction) and the cast (through performances) make crackle just right. 

Speaking off…how does this star-studded cast bring things to life? Caine is such a force with his overbearing presence and the short leash he gives his own frustration and passion. Caine provides an emotional and physical performance that just feels like it matches the wild nature of the film. Carol Burnett is a screen legend, and she shows it with every line and reaction. John Ritter is so smug while trying to keep his “every guy” persona intact delivering a character you just want to smack. Poor Poppy…Julie Hagerty’s stage manager is the more empathetic performance in the film while she still gets to deliver some glaring stares for big laughs. Denholm Elliott is an aloof and drunken older gent in the crew, and he is so genuine in his confused wanderings that he makes for a perfect wild card. Marilu Henner is probably the least developed of the acting crew but still have great chemistry with Christopher Reeve who leverages his all-American charm perfectly yet another aloof performer. A lot of credit should go to Nicollette Sheridan who must play a “blonde bimbo” type but does it with such great comedic timing. 

Is Noises Off one of Bogdanovich’s best works? No. Does it feel like a whole narrative tied together in a satisfying way? Not quite. But the laughs are hearty, and the tension is always rising to entertaining levels. This crew of talented performers are expertly directed to deliver a slapstick soiree on the stage matched with clever cutting comments. This is a fun time even if it is a messy time in narrative and actual execution.