# Twenty Bucks (1993)

### reviewed by
Tak

                                 TWENTY BUCKS
                                a review by Tak
                         Copyright 1993 by Mark Takacs

    A Triton Pictures Release
    Directed by Keva RosenFeld
    Produced by Karen Murphy
    ScreenPlay by Leslie Bohem & Endre Bohem
    91 mins / rated R
    Tak rating: see it several times - full and/or matinee
                I'd see it again with friends who haven't

Press Release: -------------- A favorite at this year's Seattle International Film Festival, TWENTY BUCKS features an illustrious cast of characters who come into contact with a particular $20 bill, from its withdrawal at a bank machine through its inevitable demise. The journey of the greenback touches the lives of a struggling young writer (Elizabeth Shue); a street-person obsessed with winning the lottery (Linda Hunt); a blue-collar fiance (Brendan Fraser) about to marry the boss' daughter (Sam Jenkins); a priest who runs a Bingo game (Spalding Gray); a kind, fortune-telling grandmother (Gladys Knight); her young, rap-singing-Craig Clairborne-wannabe grandson (Kamau Holloway); and two ill fated hold-up thieves (Christopher Lloyd and Steve Buscemi). To some, the $20 bill brings power, to others a symbol for their dream. As it weaves a path providing food for the hungry, evidence for murder, inspiration for the working class, and a tip for a stripper, this twenty bucks touches the lives of many people, and in some way, changes the future of them all.

TV-Guide(tm)-Review ------------------- A twenty-dollar bill serves as a device to examine an unexpectedly inter-connected group sf people.

Tak Thoughts ------------ Yet again, a movie exploring an idea that I've wondered about ... what happens to that $20 I just changed? I had just assumed I'd never see or some into contact with a particular $20 again. Well, you've heard of the expression ".. keeps showing up like a bad penny?" Now we've got a $20 bill instead of a penny. Inflation I guess.

Initially when the twenty showed up in the presence of someone I'd already seen, I thought "Waita minit' here, do you expect me to believe that?" I put that aside and just decided to watch the movie.

After the show, I realized that the implausible re-occurrence of the $20 is what makes this movie work so well. It gives you a chance to identify with the characters. With so many characters and relatively short times with each, it is a real testimony to the screenwriters that they were able to engage my feelings. In particular I'm thinking of the article-in-the-wallet scene (no spoiler, so siree) between Emily and her mother.

My favorite scenes are with Christopher Lloyd and Steve Buscemi as thieves, followed closely the entire plot-line with the struggling writer played by Elisabeth Shue.

I went into this movie expecting to see a SLACKER-ish film with lots of characters passing briefly on-screen, never to be seen or thought of again. And although SLACKER was an interesting film (taken in moderation--I'm definitely OD'd at one willing and three captive viewings) it was boring. I didn't *care* about the characters. There wasn't much situational variety--generally one small group after another being accosted by a ranting loon. Instead, TWENTY BUCKS delivered an interesting and engaging movie with "main characters" that I cared about, and only the minor players serve to pass the buck. (I just *HAD* to put that in here somewhere. Sorry. -tak)

You may be tempted to get up and leave a little early (you can see the end coming, as two characters almost literally walk off into the sunset) but there *IS* another minute or so after the old fashioned "The End" script where the fate of the twenty is revealed.

Technical Notes: ----------------- I don't really like looking for technical stuff, it tends to get in the way of me watching the film. The technical stuff should operate in the background for the most part. And that's what happened with TWENTY BUCKS--no obvious "film effects" to interrupt your immersion in the story line. Which was just fine by me.

Talk with ScreenWriter Leslie Bohem: ------------------------------------ After the screening, the local promoter introduced the screenwriter, Leslie Bohem. He fielded questions from the more than half-full theatre that remained to hear him. His responses were elaborate, frank and informative. We stayed for about twenty minutes before they had to clear the theatre for the regular programming.

The script was originally written by Leslie's father, Endre Bohem, in 1935 (possibly the longest film in development). After it was accepted it was rewritten ten more times during the two-to-three year filming process. Most of the rewrites were not of the main plot, but better ways the twenty could move around.

This is his first screenplay that has made it to the SilverScreen, though he said he's written 35+ screenplays and was paid for 25 of them. He has other film credits. After some arm-twisting from the audience, he said they were mostly stuff in the horror genre--NIGHTMARE ON ELM STREET V (the one with the baby), and some others. He joked about liking to exploring the father-child relationship (which he does quite a bit in TWENTY BUCKS). He appeared sort of embarrassed that he worked in that genre, though not because he regretted the work, it seemed he didn't want us to hold it against him.

The movie was produced on a smallish budget (he jokingly said "... 1/3 the budget of DEMOLITION MAN ..."). He was amazed at the quality of the actors they were able to attract. "They all worked cheap." Many of the actors were particularly drawn to the roles, especially Linda Hunt, who relished her role as the street-person.

He had not seen RESERVOIR DOGS, nor did he have any real say in the casting. So the irony in Steve Buscemi's (Mr Pink, the "professional") role is particularly good.

Christopher Lloyd's thief character was written as being extremely pragmatic, but Bohem was pleased that the character turned sinister as well.

The only scene that remained constant through the two-to-three years of intensive rewrites was the thieving scene. This scene is Leslie's favorite and was written by Leslie over a twelve-hour period and is essentially unchanged.

Much of the film has real life incidents from the life of Leslie's father and co-writer, Endre Bohem. These include the immigration story, the bubble-gum thing, and the story-in-the-wallet.

In response to a question about gratuitous nudity in the bachelor party scene, he said that he didn't remember if he'd written it in to be gratuitous or not (but he has no qualms about telling us if he did). The scene was written primarily to show the embarrassment and awkwardness of such activities. He remembers writing mainly to show one character's (Buddha) bluster turn to embarrassment when dealing with the stripper alone.

This movie only opens in selected areas (San Francisco, Seattle and New York) so if you're lucky enough to live in these areas go see this movie. The local promoter and Leslie Bohem both indicated that its wider distribution depends on good box office performance and reviews. It certainly has my blessing.

    Principal Crew
    --------------
    Director                            Keva Rosenfeld
    Screen Writer                        Leslie Bohem
                                            Endre Bohem
    Producer                            Karen Murphy (THIS IS SPINAL TAP, DRUGSTORE COWBOY)
    Director of Photography            Emanuel Lubezki (LIKE WATER FOR CHOCOLATE)
    Production Designer             Joseph T Garrity (SON-IN-LAW, THE FIRST POWER)
    Editor                                    Michael Ruscio (FREEJACK, STARFISH)
    Music                                     David Robbins (TOO MUCH SUN, LOVE & VENUS)

    Principal Cast
    --------------

    Diane Baker             Mrs. Adams (THE SILENCE OF THE LAMBS, THE PRIZE)
    Steve Buscemi            Frank (RESERVOIR DOGS, BILLY BATHGATE)
    Brendan Fraser             Sam (ENCINO MAN, SCHOOL TIES)
    Matt Frewer             Chuck (MAX HEADROOM, HONEY I SHRUNK THE KIDS)
    Spalding Gray            The Priest (SWIMMING TO CAMBODIA)
    Linda Hunt              Angeline (THE YEAR OF LIVING DANGEROUSLY)
    Sam Jenkins             Anna Holiday (DARKMOOR KNIGHT OF THE WARRIOR)
    Gladys Knight            Mrs McCormac (GLADYS KNIGHT AND THE PIPS)
    Christopher Lloyd   Jimmy (BACK TO THE FUTURE, ADDAMS FAMILY)
    William H Macy            Property Clerk (RADIO DAYS, BENNY & JOON)
    George Morfogen            Jack Holiday (THE FRONT, DAISY MILLER)
    Elisabeth Shue            Emily Adams (KARATE KID, COCKTAIL, HEART & SOULS)
    Concetta Tomei            Sam's Mother (DON'T TELL MOM THE BABYSITTER'S DEAD)
    Melora Walters            The Stripper (DEAD POET'S SOCIETY, RUDE AWAKENINGS)

    ratings:
        avoid at all costs
        watch it on cable
        wait for videotape
        see once as a matinee
        see several times (w/friends) as matinee
        see once at full price
    X   see it several times - full and/or matinee
        see many times at full price

    .

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