DANNY COLLINS – The Review

Is it ever too late to change directions? To mend broken fences, even build new ones? These are the main themes and ideas in the new release that’s being sold as a cutesy look at a mature “quirky” character, a chance to watch some screen vets grabbing some laughs at the expense of their AARP status. But it goes much deeper than that. The past is not so easily erased and no “free passes” are issued. Oddly something from the long ago past is the catalyst for the title character’s turn-around. Kudos for the film makers for admitting in the post-opening title card that this isn’t a strictly adhered “inspired by true events” work. This gives them much more license for that humor provided by a screen icon now in his fifth decade of stardom. That’s reason enough to make the movie’s title his character’s name, one that will join a quite impressive roster, as we meet DANNY COLLINS.

Danny’s story begins way back in 1971, as this young, nervous (full of unconformable twitches), on-the-rise, folk balladeer is interviewed by one of the writers at a “Rolling Stone”-style mag (Nick Offernan). Young DC vows to stay true to his music and never sell-out. Cut to today as the older Mr. C (Al Pacino) is indeed selling-out, filling huge arenas and amphitheatres. In the interim years he traded folk for pop and now serenades his rapidly aging fan base with his comfy standards and going-through-the-motions snappy patter. After the gig, he jumps into his sports car, and races back to his Malibu mansion and his much, much younger fiance (Katarina Cas), soon to be wife number whatever. Days later she treats him to a surprise birthday (which he knows about). However he does get a huge shock thanks to the gift from his longtime manager Frank (Christopher Plummer). Through some internet music collectors, he’s tracked down a fan letter to Danny that was sent to that 1971 magazine and never forwarded to him, a fan letter from John Lennon. It warns him of the pitfalls of stardom, a pit that Danny has lived in for 40 years. This note hits Danny like a lightning bolt, cutting through the years of booze and blow. He cancels his next gigs, leaves his gal to her “busy work” (you’ll get the joke later), and jets out to New Jersey. There he holds up in a suburban hotel, managed by the more mature “age appropriate” Mary (Annette Benning), and rents a piano in an effort to write some new tunes. But why Jersey? Danny wants to connect with his only offspring, the result of a one time post-concert fling with one of his many “groupies”. His son Tom (Bobby Cannavale), a construction worker, has a good modest life with wife Samantha (Jennifer Garner), a delightful (but slightly learning-challenged) eight-year-old daughter Hope (Giselle Eisenberg) and one on the way, and wants nothing to do with the man who made no effort during his and his late mother’s lives. Can the considerable charms of Danny Collins bust through his hard outer shell? And will Mary ever let Danny take her to Dinner?

Yes, the charms of Mr. Pacino are still quite considerable despite being almost buried beneath his aging pop star fashions: jet black pompadour and goatee, flowing white silk scarfs, sequined jackets, and tinted specs. Paired with his gravelly voice, he seems barely able to croak out his “bubble gum” trifles (“Hey, Baby Doll!” is his signature tune). He’s almost a parody of a certain stadium-filling pop deity (the guy’s a real jewel), but Pacino brings real humanity to what could’ve been a one note joke. Even as he tries to schmooze everybody, there’s the look of regret as he wistfully gazes at the family he hopes to still join. And there’s the inner frustration as he retreats to crowd pleasing antics and his addictive demons. Much as Marley’s ghost was with Scrooge, Lennon’s ghost is Danny’s big wake-up call.

Happily, Pacino has a great rapport with the rest of the cast, particularly Plummer, as the two old pros ease into a comfortable give-and-take banter. It’s easy to imagine those two backstage all around the world. Later in the film, Frank explains how Danny saved his life and we see how the favor is finally being returned. And Pacino has another great verbal sparring partner in Benning. She’s rattled at first, but her Mary is no mere fangirl who will tumble into his arms (and bed). She’s been kicked around by life and needs no Prince Charming or a smooth-talking crooner. Cannavale is most believable as the bitter object of Danny’s life-changing efforts. He erects walls that slows down, but never really stops, the music superstar. Late in the film, Cannavale proves to be a terrific straight man to Pacino’s comic riffs (there’s almost an “Odd Couple” vibe). Garner’s a soft, but still strong, matriarch here and it’s a nice change from several strident characters in recent roles (MEN, WOMEN, AND CHILDREN). Eisenberg is quite an adorable, but never grating, moppet while the great Offernan is almost unrecognizable as the rock journalist (a hippie Ron Swanson!).

Dan Fogelman (CRAZY,STUPID, LOVE) directs his own screenplay with confidence, knowing when best to cut in or away for dramatic or comedic impact. He wants us to be as charmed by Danny as most of his acquaintances, but he never backs away from the character’s indulgences, whether it’s falling back on safe standards or snorting lines backstage. And he knows that the sins of the past aren’t wiped away by a wave of a magic checkbook. Oh, be sure and stick around for the end credits for news footage of the real guy that’s ” sort-a, kind-a” the film’s basis.  It’s an entertaining look at a music master’s third act and with Pacino at the mike, DANNY COLLINS is a darn good show. And you don’t have to deal with concert scalpers or the flashbulbs.

4 Out of 5