rsoonsa
While discussing this earnestly contrived comedic melodrama that he scripts and in part produces, Michigan playwright Rodney Vaccaro states that the scenario results from a reaction to the "9-11" occurrences, and that his intention here is to create a romantic detailing of events that will provide a storyline antithetical to the violence that marbles our lives, while including his fondness for community based non-professional theatre as apt background for the narrative. Peter Rucker (Marcus Thomas), a graphic designer with a marked personality deficit, is attempting to reconstitute his life after his girl friend has left him, doing so primarily through reading of self-help books, but is additionally attracted by a community theatre near to his place of employment that is advertising its auditions for Edmond Rostand's Cyrano de Bergerac, and since Peter's freshly imposed solitude has resulted in a surfeit of free time during his evenings, he determines to try out for a small part in the classic play. Although totally lacking stage experience, or even middling innate Thespic ability, the play's director has "seen something" in him and Peter is unaccountably selected, not simply as a member of the cast, but as Cyrano, the lead! Another member of the cast, Mike Degan (John Corbett), a very much experienced player, designates himself as Peter's mentor both during and between rehearsals; however, when Rucker begins to dally with Degan's former lover Grace (Amy Smart), the play's Roxanne, partly due to Mike's urging, the latter begins to resent his protégé, weakening their bond, and this, in addition to unforeseen difficulties in mounting the production, must be rectified before the looming opening night performance. Unfortunately, the film itself has troubles as well, and they are but seldom solved. First-time director Al Corley permits the action to meander, with fifth-billed Thomas, fresh-faced but largely unskilled, a less than engaging Peter Rucker who is, near the film's end, abruptly replaced by first-billed Corbett as linchpin of the story, ratified by his ongoing connections with all of the other principals. Although Peter is found to be completely inadequate as the featured performer, he quaintly is called upon to save the production after a newly appointed Cyrano becomes unavailable, an unconvincing gambit for one who, in reality, is only suitable for tech support or as a supernumerary. In spite of these factors that weaken the piece's credibility it, ostensibly shot in Portland, Oregon, provides a pleasing quality of fellowship evidenced within its small community theatre group, and it treats of many standard stage related elements, both technical and non. The film's most striking sequence is a splendidly realised ending that obviously was in the van of Vaccaro's creative impulses here, its preceding scenes for the most part subsequently crafted. Originally named CAUGHT IN THE ACT, the production had to relinquish that title as it had been allocated elsewhere. Although its box office take was low, a genuine affection for theatre is communicated throughout, and there is some rewarding conceptualization within Vaccaro's often literate screenplay, such as when the play's director, played by Clare Higgins, insists upon eschewing the work's customary emphasis upon Cyrano's proboscis in favour of an examination of his marrow. Even though Corbett is given a misguided rant in one scene against the plays of Shakespeare, he handily wins acting honours. Other meritable turns are to be enjoyed from the perfectly cast Higgins and her countryman Allan Corduner, who is given free rein. Patty Duke enjoys herself in a dual role, and Smart, who as an actress is an attractive young blonde, also enjoys herself. In sum, then, this is a blemished but yet pleasing tribute to all community theatre associations that, in words from Rostand, "work without one thought of gain or fame."
Jay Raskin
Forget King Kong and Crash. This movie is last year's real treasure.I bought the DVD because I've become a big John Corbett fan after watching Sex in the City reruns. He raises the level of everything he's in and I've never seen him in anything really bad. Okay, I did see him in "Elvis Has Left the Building," but his performance and Kim Bassinger's almost saved that movie. I watched "Bigger than the Sky" and was totally moved to tears and laughter. I watched it again the next night with my wife and 11 year old daughter and we were all moved. It is a really beautiful film that works on the level of the heart. John Corbett, as I expected was absolutely charming as a talented and outrageous actor. I didn't expect everyone else in the cast to be as good, but everyone was. Marcus Thomas had a difficult lead role to play as a clueless guy who finds himself over his head in community theater. He was absolutely convincing, an academy award caliber performance. I don't remember ever seeing Amy Smart, but she gave as good a performance as Claire Danes did in "Shakespeare in Love." I have to check out everything she's done and will do from now on. Sean Astin was delightful as always. The actor and actress who played Edwina and Kippie were also terrific. For those who remember the Patty Duke Show, this movie was like a super-episode of that show. Seeing Patty Duke playing twins again in this movie brought me back to my youth of 40 years ago. Truth be told I had a terrific crush on her and watching that show was one of the highlights of my week when I was 12 years old. The show had this incredibly positive liberal and liberating message. It was totally rock and rock and culturally subversive. Only the Dobie Gillis show (which also starred the wonderful William Shallert) was similar. It gave me hope for a positive world of peace, kindness, fair play, love and understanding. This movie brought back those feelings of hope for the future of the human race, something we can all use in these neo-fascist times. I think anybody who has a good heart will love this movie, as well as anybody who has been connected with the theater in any way. Like "Stage Beauty" and "Being Julia" it is a hymn to the world of the theater.
noralee
"Bigger Piece of Sky" is a sweet little movie about why people do theater, specifically community theater as "let's put on a show"-ism in its purest form. It cheerfully embraces the clichés of theater folk to go beyond them to understand the people within.Our entrée to their world is a sad sack who makes his way into the local troupe therapeutically to get out of his depressed lonely doldrums after being dumped by his girlfriend. The actor who plays him is a bit problematical, in that he really does seem like an amateur, particularly as he is surrounded by pro's John Corbett, Amy Smart and Sean Astin having a rollicking good time. It does seem like the editing has to create the illusion that he's rising to the occasion for the climax.I've had a soft spot for Edmund Rostand's "Cyrano de Bergerac" ever since I read it in high school, so I'm sympathetic to how it is used throughout the movie for its symbolism about panache, using another's words to express one own's inarticulate feelings, and the liberation of pretending to be someone else. The theme is also exuberantly updated to role-playing games as another outlet when even the stage isn't enough.It was refreshing that a character who is ill doesn't seem to have the usual movie star disease but actually shows some effect of the illness. While we only learn about the non-stage life of the central character, so we have no idea what the other participants do in their "real" lives, it is successful at demonstrating the truth behind the song that show people are the best people to know.While the quote that is the source of the title goes by very quickly, the dialog has cheerful good humor and gentle laughs and the plot turns enough not to be predictable.The Portland locations are used very well, particularly of an old theater.It is a cute joke that Patty Duke plays twins, which will lead to baby boomers in the audience humming a certain TV theme song on the way out.
