Lookin' to Get Out (1982)

It is a common practice: it is enough that a false authority (most entertainment reporters who are no film critics, just regular spectators) dislikes something, for a choir of followers to repeat his opinion and create undeserved bad reputation for a cultural product. Such is the case of (among many others) "Born to Win", "The Hotel New Hampshire" and "Lookin' to Get Out", all the three curiously made in the 1980s, a difficult times in the history of the United States, under Ronald Reagan's dominant image. Respectively directed by Czech Ivan Passer, British Tony Richardson and American Hal Ashby, the three films had something valuable to say about US individuals, institutions and customs: be it the disintegration of the couple due to drug abuse, the dysfunction of nuclear families, consumerism or a certain vulgarity that may describe Las Vegas too well. None of the three films is a masterpiece, but they rise above the low scores and bad opinions that surround them. In particular, "Lookin' to Get Out (the director's cut) did not diminish at all the great admiration I have for Ashby, one of the most underrated American filmmakers, with a magnificent work that includes "The Landlord", "Harold and Maude", "The Last Detail", "Shampoo", "Bound for Glory", "Coming Home", "Being There" and the documentary "Let's Spend the Night Together", all containing his privileged perception of his fellow Americans and their cultures: who has ever made any two titles of those, has the liberty to make lesser films as "8 Million Ways to Die" or "Lookin' to Get Out", which are not bad at all. Written by Al Schwartz and Jon Voight, "Lookin' to Get Out" is a typical American film comedy drama about gambling buddies, prostituted women, exaggerated bad taste, and a peculiar cultural way of reacting to troubles, stuff that has being the basis of dozens of dramatic comedies, much worse than this, in which Voight and Burt Young try to get out of trouble, when they have to pay 10 thousand dollars in 24 hours, and the only solution they come up with is going to gamble in Las Vegas, where Ann-Margret crosses their path with a different agenda. The plot, which does not aspire for an award to originality, benefits however from the performances of the central cast (Voight, Young, Ann-Margret, Bert Remsen and Richard Bradford), without forgetting the contribution of a group of unknown faces that add weight to the story being told; from maestro Haskell Wexler's cinematography; and mainly –in my opinion- from Ashby's hand, from his subtle and affectionate style to capture the fragility of the demented characters, to handle with caution the grotesque and violent, but without suppressing those events and attitudes that offend human dignity, day after day. If you find a copy of Ashby's cut, don't miss it. You will add another title to the gallery of good performances by Voight, Ann-Margret and Young, your appreciation of Ashby will not be affected a bit (unless you have overrated "Harold and Maude") and, as a bonus, you'll see Angelina Jolie (Voight) at six, playing her talented father's little girl. The extended version edition includes a reunion of the actors, who evoke Ashby's memories and his working method.

Before I get into my critique of "Lookin' To Get Out", I feel I should mention that I saw the original theatrical cut of the movie via finding an old VHS release of the movie. Supposedly, the DVD release of this movie runs 15 extra minutes and supposedly improves the movie. That may be the case, but from what I saw, I can't see any extra footage making a big improvement of the mess that I saw. True, the DVD cut may explain a number of unanswered questions the original cut had, like why one character has bandages over one of his eyes. But the movie would still have a slow and plot less feel - it frequently feels that the actors are making it up as they go along. And while I think Voight and Young are talented actors, they give extremely annoying performances. The only thing that survives intact is the performance by Bert Remsen as the professional gambler - he's colorful, and commands the screen in his scenes. But even he can't save the movie enough to make it worth watching.

The DVD of the Ashby cut of the film (which he'd donated without telling anyone that it had fifteen extra minutes) was released with great fanfare. Finally this film had a chance of being seen in the director's vision.Except that we are no better off. This is still a horrid film that goes nowhere.Ashby was a fine director who unfortunately got lost in a drug haze in his later years. Despite the enthusiasm of all concerned in the interviews on the DVD, this is a movie that runs out of steam very early. Voight plays an obnoxious character whom we don't pull for, and Burt Young is wasted as his buddy.

"Lookin' To Get Out" was a bit of an ego project for actor Jon Voight, who wrote, starred and partially financed the film. Voight, unable to get a director to shoot his script, hired Hal Ashby, who at the time was stuck in an existential rut, smoking cocaine and drinking booze.The film, a 17 million dollar flop, stars Voight and Burt Young as a couple of New York losers who lose $10,00 in a poker game. They thus go to Las Vegas hoping to win back some big bucks. In Vegas the two hook up with former call girl Ann-Margret, set up headquarters in the MGM Grand Hotel, and break the bank in the casino. Reportedly, director Hal Ashby's cut of the film was heavily chopped by both Paramount and Voight. The result is a mess, as much of the film's dialogue seems badly improvised, and the entire film consists of Voight showing off, each scene crafted simply to prove how great and gritty an actor he is. It's all very vain.7/10 - This review was based on a very poor, damaged copy of the film. For Ashby completists only.