Office Christmas Party
Another reminder that allowing your cast to madly improvise instead of actually providing a coherent script with a scintilla of inherent logic often leads to…
In the mind of Robert Towne there must be many crannies, many hidden pathways to the same conclusions. In considering a problem he must ponder first this, then that possibility, projecting scenarios on the screen of his imagination. I doubt if he’s the kind of guy you’d ask for the shortest way to Studio City.
In his movies, the plots turn and twist upon themselves.
Nothing is as it seems. No character can be taken at face value. We learn more about the characters when they’re not on the screen than when they are. And even when we think we’ve got everything nailed down, he pulls another rabbit out of his hat, showing us what fools we were to trust the magician.
His most famous credit is the screenplay for “Chinatown,” a film so labyrinthine that it is difficult to explain precisely what happened in it, even after you’ve just seen it. Now here is “Tequila Sunrise,” written and directed by Towne, and containing so many devious plot developments that at times we miss what’s on the screen because we’re still trying to figure out what the previous scene was revealing.