As an admirer and real-life example of marginal ideas gone horribly wrong in the most expensive and embarrassing manner, I enjoy and celebrate failure of epic proportions. FIASCO: A HISTORY OF HOLLYWOOD’S ICONIC FLOPS takes an in-depth look at classic film failures such as CLEOPATRA, PAINT YOUR WAGON, ISHTAR, SHOWGIRLS and BATTLEFIELD EARTH.
Much like a History Channel deconstruction of Custer’s Last Stand or the Titanic disaster, author James Robert Parish breaks down not only the glaring financial irresponsibility but also the artistic failures that forever doomed these flops. Parish illustrates with clarity and frankness the film industry’s journey from the largely restrictive yet efficiently budgeted old-Hollywood system to today’s ego-driven Tinseltown power-hitters given carte blanche to make absolute crap. Unapologetic and wry in tone, Parish is quick to point out when the cinematic powers that be have failed to learn from past mistakes without sounding like an armchair executive himself.
One can’t help but be in awe of the monetary figures Parish presents, but even more satisfying is the reinforcement of the fact we all seem to know: Many of the movie industry big shots beloved by John Q. Moviegoer are, in fact, complete assholes. From Elizabeth Taylor to Kevin Costner, Robert Evans to Robert Altman, Parish effortlessly paints portraits of demanding and childish actors, directors with death grips on idiotic visions and producers so desperate for box-office gold that even a Joe Eszterhas script looks good. From the melodramatic shenanigans behind the scenes of the Sean Penn/Madonna pairing SHANGHAI SURPRISE to the staggering cast and crew drug use in Malta while filming POPEYE, the stories of bad judgment are often juicy and hilarious, but – for example, considering Robin Williams’ behavior at all other times – aren’t entirely shocking.
In a world of $1,200 light bulbs, Scientology and questionable financial schemes leading to murder, most of the making-of tales would probably be more compelling than what’s destined to end up onscreen. As fun and engaging to read as the films it dissects are unwatchable, FIASCO is an immensely satisfying exploration of all the things that make the film industry feared and celebrated by those who enjoy America’s real favorite pasttime: Schadenfreude. –Danielle Wegelin
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