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Tag Archives: Tommy Wiseau
This December can boast the release of a pair of films from two very different franchises. The first is Star Wars: The Last Jedi, the inescapable cinematic behemoth set to capitalize on the new, Disney-fueled era of Star Wars. It’s primed to tell the next chapter of the new trilogy that began with 2015’s The Force Awakens. The second is The Disaster Artist, a movie, based on a book, based on the making of another movie. That other movie is The Room, a transcendently bad, gloriously inept film that is the modern challenger for the title of “The Worst Movie of All Time.”
And on the surface, Star Wars and The Room have nothing in common. One is set in a distant galaxy, and the other is set in San Francisco (and not even the futuristic sci-fi version of the city from Star Trek). One features magical warrior monks doing battle with laser swords, and the other features (comparatively) average people, mostly tossing footballs at one another. Star Wars shows off imaginative new technologies on a cinematic scale, and The Room includes someone secretly recording their fiancée with a Nixon-era tape recorder.
But look past those surface-level differences, draw down to the core elements of each franchise’s installments, and you’ll discover something shocking — Star Wars Episode III: Revenge of the Sith is just The Room in space. Search your feelings; you know it to be true.
The Room has quickly become one of my favorite movies. I cannot, and could not, begin to call it a good film, but it is enjoyably and transcendently inept. The movie’s premise is a love triangle between Johnny, a well-meaning banker, Lisa, his fiancée, and Mark, his best friend. But that basic description does not begin to capture all that is The Room.
The internet has exhaustively documented the film’s numerous flaws and the insanity going on behind the scenes, but in brief, Tommy Wiseau, the film’s writer, director, star, and overall creative visionary, produced the perfect storm of terrible movies. The writing is embarrassing; the acting is weak and wooden, and the dialogue is quotable for all the wrong reasons. Plots are picked up and dropped seemingly at random; characters emerge and disappear for no reason, and the film is so poorly directed and edited that it could be considered avant-garde if people believed it were a deliberate departure from the norm.
I’ve watched this unintentional masterpiece five times. I have shared it with my fiancée, with my parents, and with multiple groups of friends, because it’s one of the movies that just has to be seen to be believed. It’s the type of film that you would never expect to actually come to fruition. Its vision is too singular. Making a movie involves too much effort from too many people for one individual to be able to create something so unique and so awful. In short, The Room is a cinematic train wreck that is as breathtaking as it is bewildering.
But recently, a comment about the movie’s questionable notoriety gave me pause. Greg Sestero, one of the film’s “stars,” is writing a new book about the film. In an article about the book’s release, one online commenter complained about Sestero capitalizing on Wiseau and the movie’s infamy, arguing that,“at some point it feels like he’s exploiting a man who’s not all there.” It made me wonder if there’s something wrong about the joy I derive from The Room.