THE AISLE SEAT

"Slums of Beverly Hills" Memorable Mirth or Forgetable Folly?

by Bryan Powers

G21 Film Reviewer

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NEW YORK - Short-shorts, knee-high tube socks and platforms. Tube tops worm over a parentally enforced bra. These are the fashions faithfully recreated in "Slums of Beverly Hills," the feature film debut from Tamara Jenkins that brings colorfully back to life my personal memories of growing up with four older sisters in the 70's.

Having been reared in Ohio, I can only trust Ms. Jenkins's portrayal of a struggling wanna-be-middle-class family's adventures in California to be as accurate as the aura of the decade that she captures so sweetly in this fresh offbeat comedy. A movie that is at once both hysterical and heart- wrenching, "Slums" falls just a few steps shy of being brilliant.

The Abramowitz family is always on the move. Dad (Alan Arkin) keeps his two sons and one daughter, Vivian, (the charismatic Natasha Lyonne) in a continuous middle-of-the-night relocation program as he tries to avoid being kicked out into the streets, due to his inability to pay the rent.

Things begin to look up for the Abramowitzes when money starts rolling in from a rich uncle in exchange for baby-sitting his screwed-up daughter (Marisa Tomei in her latest quirky supporting role.)

If only it were that easy. Vivian is on the brink of womanhood, but there doesn't seem to be time for her own problems with so many lunatics surrounding her. A pill-popping, pregnant cousin; a pot dealing, Manson t-shirt wearing, possible boyfriend; and a father who is battling with what is best for him and what is best for his children are only some of the distractions facing Vivian. During a time when she is already overwhelmed by a developing body that seems only to disgust her, Vivian's situation complicates itself with a truly dysfunctional family that needs her support but can't seem to support her.

Lyonne is a revelation in a role that could have been lost on a lesser actress. Wynona Ryder and Molly Ringwald she is not. This is a good thing. While Ryder or Ringwald have become firmly etched in America's mind as the typical sweet 16-year-old coming of age, Lyonne takes a sledgehammer to that image by creating a fresh and funky Vivian that is real, not just pretty. Lyonne evokes empathy with an understated performance that has just the right balance of rebellious teen and hurt child. I'll venture that there are more girls who can relate to Lyonne in Slums than Ringwald in "Sixteen Candles" or Ryder in "Heathers."

The other strong attribute of "Slums" is an emotionally complex comedic performance by Alan Arkin. This may be the first encounter a new generation of moviegoers has with Arkin. His son Adam, of "Chicago Hope" fame, must be a more familiar face to many twentysomethings. But Dad is back to show just where the acting genes originated. With his unique voice and comical features, Arkin portrays Papa Abramowitz's struggles as a lonely, recently divorced, Jewish father trying to keep a roof over his kids' heads while at the same time looking to secure a companion for himself. Playing a loser that the audience cares about is not a simple task. Arkin rises to the demands and then some. One can only hope that his performance is seen by all the right casting directors. This man should not be hard-up for work.

Complexity seems to be the key to Jenkins, direction for "Slums." Along the way though, the story never quite reaches the potential it promises during the jazzy opening credits. While remaining memorable, and perhaps growing fonder in one's memory with time, "Slums" also is just shy of being groundbreaking. Perhaps it is because Jenkins' script tries to continually balance between depressing reality and Technicolor hysteria. The end result is neither truly moving or hysterical. That's not to say that the memorable moments of this charming film do not make-up for its shortcomings. It is those same refreshing moments of mirth that will keep you from dwelling on the thought that something is missing.

Grade: B, for Better than most.

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