THE WORDS – The Review

When film makers are looking at a profession for serious subject matter ( super spies, reckless cops, and costumed crusaders are for the lightweight Summer action blockbusters ), they often turn to the literary. Namely, the lonely, unglamorous writer can make for a somber hero ( of course this might be a bit of navel-gazing since somebody’s got to whip up a script ). Movies from THE LOST WEEKEND through last year’s THE HELP have shown the authors pounding away at the typewriter keys well into the wee hours of the morning ( of course modern-time movies have substituted a laptop computer for the noisy old Underwoods and Coronas ). Instead of battling monsters and beasties these knights of the pen fight with another formidable foe : the blank page AKA writers’ block. This can often have the hero facing a moral quandary of fabrication ( THE HOAX ) or outright thievery ( YOU WILL MEET A TALL DARK STRANGER ). The later is the main theme of the new drama THE WORDS, which takes a cue from THE HOURS and interweaves one book about another book about, etc. Is this cinematic nesting doll worth the time and effort of keeping track of who’s writing what?

In the opening scene we’re introduced to celebrated author Clay Hammond ( Dennis Quaid ) as he reads a passage from his latest best-seller to an enthusiastic audience that includes graduate student Daniella ( Olivia Wilde ). The novel begins with The Old Man  ( Jeremy Irons ) watching celebrated author Rory Jansen ( Bradley Cooper ) and his wife Dora ( Zoe Saldana ) climb into a limo that will whisk them to a fancy literary event. Cut to several years ago as Rory and Dora, fresh out of college, move into their Brooklyn loft. Rory struggles to establish himself as a writer, and has to ask his blue-collar father ( JK Simmons ) for a loan. When Rory and Dora travel to Paris on their honeymoon he buys a beat-up old leather briefcase at a shop. Once they return to the states, Rory takes a job in the mailroom of a publishing house. Filing away his old stories and rejection letters, Rory discovers a weathered, hand-typed manuscript hidden in one of the old briefcase’s compartments. He’s so moved by the story that he begins to re-type it, word for word, on his laptop. Dora stumbles across the file and insists that Rory submit it for publication. Rory slaps together a title page ( with himself as author) and gives it to one of the agents ( Zelijko Ivanek ). Before you know it he’s on the best seller lists. All’s going well for this rising literary star until The Old Man plops down on the park bench next to him. The Old Man tells him of the years spent in Paris at the end of World War II as a Young Man ( Ben Barnes ) and his love affair with a beautiful Frenchwoman, Celia ( Nora Arnezeder ) that inspired his lost novel. Rory’s been found out. What will he do to put things right? And what will happen with Clay and Daniella after the public reading and the after party?

There’s a compelling story of plaugerism buried somewhere in this overly complicated, much-too-heavy drama. The sudden scenes shifts don’t help quicken the pace one bit ( this is a very long 95 minutes ). Most of the confrontations seem to fizzle out, particularly a murky confessional between Quaid and Wilde near the conclusion. The actors strain mightily to make this material work. Cooper seems to be repeating his LIMITLESS role here minus that super pill. His take on the flawed golden boy was essayed much better by Robert Redford decades ago. Saldana has little to do in the loyal, supportive wife part even as she is torn by his deceptions. Quaid makes for a believable veteran writer, but he remains an enigma by the film’s end. Wilde’s always a welcome addition, but her book groupie turned inquisitor never really gels. The short supporting work from Simmons, Ivanek, and John Hannah ( as a writing rival ) do create a few brief sparks. Luckily there’s Mr. Irons, who commands the screen as the true literary master. Every emotion is etched on that ravaged face ( nice makeup work). At first he’s sad and pathetic, but soon becomes a rage-filled lion as he exposes the young fraud. If they rest of the film were up to his level, THE WORDS would be a strong awards season contender. Unfortunately the movie sputters and stumbles when Irons is off stage. A muddled, over-wrought, morality melodrama, THE WORDS never really leaps off the page…or screen.

2 Out of 5 Stars