Sunset – Dämmerung in Hollywood (1988)

Sunset – Dämmerung in Hollywood: Directed by Blake Edwards. With Bruce Willis, James Garner, Malcolm McDowell, Mariel Hemingway. Tom Mix and Wyatt Earp team up to solve a murder at the Academy Awards in 1929 Hollywood.

“This movie has been kicking around on cable TV lately and Iu0026#39;ve put off watching it because I expected it to be another very stretched version of a buddy cop movie. The story seems made for it. Experienced old real-life marshal Wyatt Earp teaches callus young phony cowboy Tom Mix how to solve a crime. u0026quot;Dragnetu0026quot; on a 1920s back lot. But it wasnu0026#39;t that way at all.u003cbr/u003eu003cbr/u003eItu0026#39;s true enough that Earp (Garner) hung around Hollywood at the time, or maybe a bit earlier. We donu0026#39;t really get to know much about his past. But although Mix (Willis) drove expensive cars and wore flashy suits and big hats, he wasnu0026#39;t a phony. Heu0026#39;d been a real cowboy too, was a great rider, fought in the Spanish-American war, and could take care of himself. Instead of the expected clash between the master and the tyro, we get two guys who pretty much hit it off with one another right away, and show mutual respect.u003cbr/u003eu003cbr/u003eItu0026#39;s an interesting friendship.u003cbr/u003eu003cbr/u003eBut then the movie turns darker. A murder takes place. There are fist fights (mostly comic) and several shootouts (done seriously). Willis is kind of cocky. Garner displays the laconic off-hand dignity he showed in u0026quot;Murphyu0026#39;s Romance,u0026quot; or whatever it was. Heu0026#39;s an icon here, with that black outfit and mustache. Heu0026#39;s never been a flashy actor, but invariably a competent one. Off-screen heu0026#39;s come up with some dandy spontaneous comments about how the social world of Hollywood and the rest of the country is structured. Heu0026#39;s got my vote. Willis isnu0026#39;t bad either.u003cbr/u003eu003cbr/u003eThe rest of the cast does yeoman work but no one has roles that are as interesting as those of the two leads. And the murder story fails to grip the viewer, at least this viewer. I didnu0026#39;t really find myself caring who did it, although it was clear from the beginning who the villains were. There was an exception, though, the British actress playing Garneru0026#39;s former lover. Sheu0026#39;s simply outstanding in a supporting part, and provides a great example of how to be beautiful without being u0026quot;beautiful.u0026quot; u003cbr/u003eu003cbr/u003eI wish the film didnu0026#39;t seem kind of — I suppose lost is the word. It meanders between comedy, drama, and warmth, without seeming to know just what it wants to do. This isnu0026#39;t a total failure on Edwardsu0026#39; part. It holds together as a story but the characters bounce off one another. Henry Mancini, who wrote many scores for Edwardsu0026#39; films, shows his versatility here.u003cbr/u003eu003cbr/u003eThe score is quiet and unobtrusive (except for one or two brass bands that seem to follow Tom Mix around) and is punctuated by contemporary recordings, including one by Duke Ellington. The photography is first rate. It must be getting hard to find locations that look like Southern California looked in the 1920s before the irruption of humans and their artifacts. u003cbr/u003eu003cbr/u003eItu0026#39;s worth watching. But I donu0026#39;t know where that title came from. u0026quot;Sunset.u0026quot; What is the sun setting on? Not Earp. Heu0026#39;s old but not doddering, and he can shoot and make love even at the u0026quot;risk of permanent damage.u0026quot; Itu0026#39;s not setting on Hollywood, which would continue to book for another two generations or so. I suppose weu0026#39;ll settle for its being one of those generic titles that could mean anything. u0026quot;Another Dawn.u0026quot; u0026quot;Guns of Darkness.u0026quot; u0026quot;On the Edge.u0026quot; u0026quot;Sunset.u0026quot; u0026quot;The Muppets Conquer the Mustang Ranch.u0026quot;”