American Fable is ambitious, maybe too much so sometimes, but there's an intense pleasure in the boldness of the film's style.
Ivan Passer's "Born to Win" is a good-bad movie that doesn't always work but has some really brilliant scenes. It opened last week under cover of darkness in several neighborhood theaters, and that's probably just as well. If they'd given it the big hype at first-run prices, people might have felt uneasy at a tragicomedy about dope. But at neighborhood prices, we can relax and remember George Segal running through the middle of Manhattan in a fluffy nightgown.
Segal is one of the most interesting young American actors, and he isn't shy about accepting projects that sound weird, if not impossible. This has had a curious effect on his career. He has made a lot of movies that were so-so at the box office, and then went straight into the minor classic category. People remember them fondly a long time after they've forgotten the immortal honorees of the New York Film Critics Circle.
Let's see. Segal made "No Way to Treat a Lady" and "Bye Bye Braverman" and "Where's Poppa?" and now "Born to Win." He has also had some big financial successes along the way, but these four comedies will do nicely for anyone mounting a retrospective on good recent movie comedy. They have their faults, but mostly they're faults of ambition, not timidity, and Segal has allied himself with directors willing to take chances.
This time his director is Ivan Passer, a Czech who got out when the Russians invaded Prague. Passer's "Intimate Lighting" is one of the best European films of the past decade. With "Born to Win," he was trying to give us an ultimately tragic movie about heroin addiction -- and to throw in some slapstick along the way. This is asking for trouble, and Passer gets into some, but "Born to Win" is much more interesting than most of the recent cycle of drug films.