You just never know. Sometimes when a studio shelves a movie, it’s because the film is too difficult, too non-commercial, or too challenging for wide distribution. Then again, sometimes a movie is shelved because it’s just plain awful.
So when these films surface, late and in the kind of small runs that Key Exchange and Lily in Love are getting, you never know what to expect – some unheralded masterwork or some unmitigated dud.
It’s fairly clear why Key Exchange has had some trouble being released. A yuppie movie – whatever that might mean – it’s a small-scale romantic comedy, in the Woody Allen mode, with no big stars and few boffo laughs.
But, if Key Exchange is too low key (pun not intended) for broad distribution, it might thrive in smaller runs. It’s a pleasant New York comedy, full of sun and modest observation.
The crux of the film is the exchange of apartment keys between Lisa (Brooke Adams) and Philip (Ben Masters), who have been involved in a non-exclusive relationship. He, a mystery writer, is terrified of commitment and concocts elaborate theories about the war between the sexes. She wants to try a more stable relationship.
Their lawyer friend Michael (Daniel Stern) is suffering through an estrangement from his wife (Nancy Mette), a ballet dancer who ran away with another dancer a few days after the marriage.
The script, by Paul Kurta and Kevin Scott (from a play by Kevin Wade) does not provide earth-shaking insights into these people, but it does serve up a few amusing incidents, including a classic cruising session for Masters and Stern when both are separated from their companions, and an odd private-eye escapade when Masters sits in with a real investigator (Danny Aiello) on a stake-out.
Barnet Kellman’s direction is unobtrusive, but he’s gotten nice work from Adams, Masters, and Stern. The latter, who also has a small bit in Hannah and Her Sisters, continues to be one of the funniest people in movies. He plays the funny bestfriend role (as in Breaking Away and Diner) with more cheerful authenticity than anyone else around.
Lily in Love gives ample evidence for its difficult sell. It’s pretty uninspired, with an unbelievable premise unaided by tired direction (by Karoly Makk).
It’s a sort of twist on Tootsie, as an actor (Christopher Plummer) creates an alter ego to get a certain part. His wife (Maggie Smith), a scriptwriter, has written a new screen play with a terrific lead role. Trouble is, her husband is much too hammy for the subtleties of the part, which also calls for a younger, European actor.
Plummer is so hungry for the role that he takes grease paint in hand and makes himself up as Roberto Terranova, a young blond Italian with a soft-spoken delivery. Frankly, he still looks a lot like Christopher Plummer, but we are to believe he gets the part and fools everyone – or, almost everyone – during the shooting in Budapest.
Aside from requiring a whopping suspension of disbelief, Lily in Love is simply flatter than Plummer’s pancake makeup. Except for an unexpectedly witty supporting turn by Elke Sommer, there’s not much to recommend this rather dismal comedy. In fact, it’s one of those movies that’s actually embarrassing to watch.
First published in The Herald, January 1986
I always associate Key Exchange with Almost You, another Brooke Adams relationship picture that came out around the same time. Both small, quasi-Woody Allen pieces, both likable. Key Exchange has a terrific supporting cast. Kevin Wade went on to write Working Girl, and Barnet Kellman became a very successful TV director. Lily in Love is based on a Molnar play, and one assumes the premise works better on stage (though there are other film adaptations, too); at the time, Vincent Canby complained that the playwright had not been credited on the film. Makk was a leading player in Hungarian cinema. Also: Good for Elke Sommer.
WHAT A FEELING! 