The original 1981 Arthur has its share of fans, who consider it to be a comedy classic. The titular Arthur Bach, a spoiled and drunken playboy, was Dudley Moore’s most memorable and celebrated role. Personally, I never understood the appeal. The idea of a middle-aged Moore portraying an overgrown man-child was slightly creepy, but I can see how his incessant cackling and never-ending stream of quips might be considered charming…sort of.
The 2011 remake plugs Russell Brand into the lead role. Brand’s Arthur isn’t too much of a departure from hedonistic rock star Aldous Snow from Forgetting Sarah Marshall and Get Him to the Greek. But, it’s a much kindler and gentler version of the Russell Brand persona, just like the remake is a kindler and gentler version of the original. In this modern world of political correctness, alcoholism is no longer something to be mocked or glorified. It’s also a completely different New York City, a gentrified, post-Giuliani Big Apple. As such, this new Arthur must predictably go to rehab and can no longer trawl the streets for prostitutes. The adult contemporary soft rock music by Burt Bacharach and Christopher Cross is replaced by a modern hipster soundtrack by Death Cab For Cutie’s Ben Gibbard. And yes, there is a cover version of Cross’s “Arthur’s Theme (Best That You Can Do)” by Fitz and the Tantrums, which plays over the end credits.
Arthur is an irresponsible gadabout, who was raised by his stern nanny Hobson (Helen Mirren) rather than his icy CEO mother, Vivienne (Geraldine James). Arthur frivolously wastes his unearned riches on wild parties and other nonsense. He bids against himself at high-class auctions and runs roughshod through Wall Street in the Batmobile. The ultimate waste since it was the Schumacher Batmobile and not the cool one from the Tim Burton films (or even the Adam West TV show). Vivienne has grown weary of her son’s idiotic behavior and forces him into a marriage with Susan Johnson (Jennifer Garner), the daughter of a wealthy construction magnate (Nick Nolte).
Arthur is against the arrangement until he is threatened with being cut off from his $900 million inheritance. His fortunes change when he literally bumps into Naomi (Greta Gerwig), an unlicensed tour guide and becomes inspired by her self-made, blue-collar work ethic.
The original Arthur was written and directed by Steve Gordon, whose only prior experience was in television. Warner Brothers chose not to tempt fate and hired Jason Winer, an executive producer for Modern Family, to direct the remake. Winer worked from a script by Peter Baynham, one of several credited writers for Borat. Along with Brand, they do an admirable job in making the movie a lot better than the tepid trailers made it appear. Not exactly a winning endorsement, but Arthur has its moments. Brand’s humor is hit-and-miss and so was Dudley Moore’s. However, Moore had an air of spontaneity while Brand’s jokes feel overly scripted. Also, he looks a little odd clean-shaven. While Brand may not shine in the starring role, his supporting cast provides excellent back-up.
Sir John Gielgud won an Oscar for his portrayal of the original Hobson, Arthur’s loyal and ever-patient butler. The remake has cleverly switched genders, making Hobson a nanny (and surrogate mother figure), and allowing the addition of Helen Mirren to the mix. Mirren isn’t as condescending as Gielgud, but she more than matches his dry, sardonic wit. Greta Gerwig is infinitely lovable as the pixie in a scarf and fedora Arthur falls for at first sight. She brings the same warmth and effervescent smile that she possessed in Greenberg. Not to be outdone by her co-stars, Jennifer Garner is cast against type as the aggressive social climber with Nick Nolte in full Nick Nolte mode as her intense daddy.
Russell Brand shared the spotlight with Jonah Hill in Get Him to the Greek, but Arthur is his first real chance at top lining a major studio release. While Hop (featuring the voice of Brand) has done strong box office, Arthur opened to an anemic $12.2 million. Perhaps, American audiences haven’t yet warmed up to Brand’s unique sense of humor. Arthur isn’t the best showcase for his talents, but it’s not the worst. It’s strictly middle-of-the-road entertainment and a few notches above the typical romantic comedy.
Rating: ** (*****)
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