Rain Man [Blu-ray] | DVD Review

Rain Man took the Oscar for best picture in 1989, crushing films like Dangerous Liaisons and Accidental Tourist – those movies never had a chance – and garnered statuettes for director Barry Levinson, producer Mark Johnson, and actor Dustin Hoffman. Since its premiere in December 1988, the film has grossed an estimated $500,000,000 worldwide, and the meter is still running.

Truly impressive stats for a film that barely rises above mediocre. In fact, Rain Man doesn’t even rank among Barry Levinson’s three best pictures – Diner, Avalon and The Natural earn that distinction, in that order – and at times the movie almost suffocates under the weight of its own cuteness. Like leading man Tom Cruise, the film has not worn well, and within its Reagan-era shallowness it’s easy to see why there is so little nostalgia for the 1980s.

Cruise plays Charlie Babbitt, a fast talking super-slick importer of exotic Italian sports cars to LA’s rich and famous. Babbitt has apparently seen too many episodes of Miami Vice, as witnessed by his gleaming handmade suits and perfectly coiffed hair. But all is not Lamborghinis and cocaine for young Babbitt. He has over extended himself on a lucrative deal that is turning sour and now faces sudden penury. To top it off, he has just learned that his wealthy but estranged father has died, and Babbitt’s presence is immediately required in Cincinnati to settle the estate.

As the will is read, Cruise is crestfallen to learn his legacy consists of an old Buick and some prized rosebushes. The bulk of the loot is designated to someone named Raymond Babbitt (Dustin Hoffman); a long lost sibling Charlie has never met. The mysterious Raymond turns out to be an autistic savant who has been institutionalized since the 1960s, his existence hidden from the world by the embarrassed Bobbitt clan. When the brothers finally meet, the desperate Charlie cooks up a scheme to spring Raymond from the facility, thinking that fleecing the mentally challenged man out of his new found millions will be a walk in the park.

But Raymond is no standard-issue basket case, and the story hinges on the slow revelation of his unique abilities, which range from quirky to extraordinary. He is gifted with photographic memory, perfect pitch and an astonishing ability to solve complex math problems with lightning speed, to name just a few. Raymond’s savant talents are largely played for laughs, and while that makes for entertaining proceedings, it also feels like a bit of a cheat. No explanations or insights into the world of autism are offered, and at times it seems Levinson’s film is little more than a charming version of a freak show.

Hoffman’s evocation of autism is generally believable and effective, and somehow survives the film’s cloying preciousness. The creation of a character withdrawn from reality is a tremendous challenge for any actor. Just check out Sigourney Weaver in Snow Cake for a confirmation of the pitfalls. Hoffman and Cruise develop a competition for attention over the course of the film – at least in Cruise’s mind – and he seems hell bent on preventing Hoffman’s theft of the picture. But it’s a hopeless task. Hoffman’s fixation with the classic “Who’s on First?” comedy routine is mirrored by Cruise’s increasing frustration with Raymond’s periodic hissy fits. The result is some unfortunate scenery chewing by Cruise, which in turn makes Hoffman’s baffling eccentricities seem noble and oddly heroic.

The brothers make their way to Vegas, where Charlie intends to put Raymond’s amazing memory to work in the forbidden art of card counting. The film then becomes a sort of Rocky for the gaming set, as Hoffman quickly proves that autism can be wildly profitable. Valerie Golino, who the previous year won the best actress award in Venice, reappears as Cruise’s girlfriend Susanna, and proves irrefutably that she’s utterly wasted in this film. Given little to do except state the obvious in adorable Euro-English, Levinson rushes her in and out of scenes like a piece of set dressing. Other than to assure audiences that Cruise’s character wasn’t gay, it’s difficult to surmise exactly what purpose writers Barry Morrow and Ronald Bass had in mind for her.

In the final act, the film’s comedic edges are replaced by sentimental ones. But Levinson handles the schmaltz in a skillful and stealthy manner. The closing scenes of Rain Man are by far the strongest of the film, with a sobering analysis of some of the challenges Raymond would face if left to his own devices in the real world. Cruise’s long awaited date with catharsis is hardly profound, but does leave audiences feeling that Charlie’s narcissism has been dialed down at least a little. And for the hard-swinging bachelors of the 1980s, that in itself was something of an achievement.

Veteran DP Jon Seale imbued the look of Rain Man with a sunny crispness, and the 1.85 transfer captures it well. Much of the film consists of a road trip across America, and the depth inherent in blu-ray perfectly conveys the ever enlarging skies as the brothers make their way west. Lush Ohio lawns, swaying Midwestern wheat fields and the electrifying neon of a hot Vegas night are all rendered in gorgeous detail. The 5.1 mix is free of distractions, exceptionally clear and just about perfect.

Commentary by director Barry Levinson
Among the film’s wealth of bonus material are the illuminating thoughts of director Levinson, who was actually the fourth helmer brought onto the project. He humorously describes his struggle to simplify the project, as well as detailing Dustin Hoffman’s long and arduous efforts in researching the Raymond character.

Commentary by writer Barry Morrow
The writing team is heard from as well, and here Morrow addresses the many evolutions the script endured on its way to production. Particularly interesting is a story about the studio’s ill-advised efforts to transform Rain Man into an action film, complete with hair raising escapes and violent shoot outs. It makes one realize how much of the work of filmmaking is simply a struggle to prevent “the suits” from sabotaging their own products.

Commentary by writer Ronald Bass
The Vegas scenes were primarily the responsibility of Bass, who was sort of an amateur card counter before the casinos had the practice made illegal. He recounts a surprising story of how the dealers not only tolerated card counting at first, but actually cooperated with his attempts to master it.

The Journey of Rain Man
This featurette is an interesting account of the movie’s lengthy and rather byzantine path to actually getting filmed. Martin Brest, Steven Spielberg and Sidney Pollack were all slated to bring Rain Man to the screen at one time or another. Some of the most insightful comments are from a psychiatric nurse (the sister of writer Ronald Bass) who served as a consultant on the production.

Lifting the Fog: A Look at the Mysteries of Autism
This riveting 20 minute documentary features interviews with medical professionals, family members and a fascinating array of autistic savants. Autism is presented as a multi-faceted, wide spectrum syndrome that researchers are just beginning to understand. We meet a savant who was instrumental to Hoffman’s modeling of the character, and it’s interesting to see the source of Raymond’s eccentric nuances. Overall, the piece is a fascinating look at the current state of autism knowledge and possible therapies, with an emphasis on explaining the intensely literal thinking of the typical high functioning patient. Frankly, this reviewer found the piece more interesting and poignant than the film itself.

Rounding out the bonus material is a deleted scene and the film’s theatrical trailer.

Ironically, this Oscar winner is being released on blu-ray the same year that The King’s Speech, another film about disability, took the award. While King George VI’s difficulties were mild compared to Raymond Babbitt’s, both films offer bravura performances from the leads, and not a whole lot else. But as long as movie goers – and Academy voters – keep rewarding these types of films, there will no doubt be a long line of established actors eagerly awaiting their chance to portray the afflicted. Hoffman’s turn as Raymond has truly impressive moments, but overall there is a sense more of mimicry than acting. While it has a veneer of serious, important cinema, Rain Man is ultimately shallow, cozy and unchallenging. In other words, it was destined to win an Oscar.

Reviewed by David Anderson

Movie rating – 3

Disc Rating – 4