The Disaster Artist: Not a Disaster, But Not a Masterpiece

Photo by A24 ©2017

I was in high school when one of my best friends showed me a clip from what he called “the worst movie ever.” I found this a hyperbolic label but I watched the clip nonetheless. “Worst movie ever” didn’t even begin to describe the train wreck I witnessed. The most awkward, scraggly-haired man with the oddest accent stumbled into a flower shop and purchased a bouquet from a clearly disinterested shop clerk. None of their words synced with their mouths, there was no continuity in the shots, and the dialogue was uninspired.

The film in question was The Room. The man was Tommy Wiseau. He had written, directed, and starred in this complete bomb and championed its release. Rationally, I knew what I was watching was terrible. It nevertheless filled me with such joy and did what many scenes struggle to do: entertained.

Similar stories open The Disaster Artist, the James Franco-helmed exploration of the making of Wiseau’s now-heralded “masterpiece.” Kristen Bell, Adam Scott, and other celebrities describe their first time seeing The Room and their reactions. No matter the person, the response is the same: they were dumbstruck. A disaster was unfolding on screen but there was no looking away. Love it or (more likely) hate it, The Room is a testament of just how much a lack of shame can matter in getting a film finished.

After these testimonials, James Franco is left to do what he does best for two hours: be as weird as possible. His portrayal of Tommy Wiseau is the type of performance that will inspire a whole new generation of awkward guys to become actors. Much like his muse, Franco is shameless and ambivalent to his ridiculousness. He transforms so much, in fact, that I forgot I was watching James Franco at times.

"I did not hit her, it's not true! It's bullshit! I did not hit her, I did not. Oh hi Mark."
Photo by Justina Mintz - ©2015 Warner Bros. Entertainment Inc.

The Disaster Artist’s story is an odd one. A talentless struggling actor Greg Sestero (Dave Franco, in one of his stronger performances) meets the eccentric Wiseau (the elder Franco) in an acting class. Stunned by Wiseau’s charisma, Sestero befriends him. As their bond grows, the two decide they will move to Los Angeles to pursue their dreams of being movie stars. After all, Wiseau has an apartment in L.A. that he never uses so the move will be easy!

With their careers permanently stalled, the duo shirks the Hollywood machine to produce their own film. Thus, The Room is born. Sestero appears hesitant about the lackluster script but plows forward with his friend who casts him in the lead role of Mark. After all, a job is a job. Filming is anything but smooth, however, as Wiseau clashes with literally everyone. He consistently ignores the advice of script supervisor Sandy Schklair (Seth Rogen), he body-shames Juliette Danielle (Ari Graynor) during their love scene together, and his refusal to pay for air conditioning causes the elderly Carolyn Minnott (Jacki Weaver) to collapse on set.

When filming wraps, all involved are happy to know The Room will never see the light of day. But then Sandy sees a billboard for the movie. Despite all odds, Tommy has managed to get the film screened and the opening night sells out. While the audience politely watches the movie at the beginning, they quickly begin mocking it as the ridiculousness continues. Heartbroken, Wiseau storms out but is caught by Sestero. As Greg explains, it doesn’t matter if the response isn’t what was envisioned. What matters is that the audience is filled with such immense joy that they end the show with a standing ovation. Wiseau accepts this and wholly embraces the film’s unexpected comedic reputation.

When The Room lights up the big screen, Wiseau's vision doesn't manifest. But the flick entertains nonetheless.
Photo by Justina Mintz - ©2015 Warner Bros. Entertainment Inc.

James Franco is at his best comedically and dramatically as Wiseau but I kept having a lingering question: are we supposed to laugh at his over-the-top ridiculousness? Or should we pity him for not being able to see the world for how it is? Such a dichotomy is further complicated when Franco angrily chastises his acting class for laughing at him and saying he would make a better villain. If Tommy wants to be seen as more than a punchline, why does this movie spend so much time turning him into one?

As a director, Franco does a fine job. The script, however, is never elevated beyond the expected. Most scenes lack much coverage and tend to be from only one or two angles that echo later. For instance, almost all diner scenes feature the same two angles cut between each other without much additional movement. He does benefit, however, from the spot-on recreation of The Room’s production studio (done expertly by Chris Spellman) and the playground these sets provide for his actors.

Nearly every scene in The Disaster Artist will garner a laugh from someone. But the issue of intentionality remains. It’s true The Disaster Artist is thoroughly entertaining but, like the Wiseau film it is based on, it may come off as more humorous than originally planned.

Did you laugh along with Franco and his crew? Leave a comment below!

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