Before going to see The Disaster Artist or before diving into the crazy journey of The Room and its creator Tommy Wiseau, you need to know one thing right off the bat: Tommy Wiseau is a failure. The writer/director/producer/star of one of the worst movies ever made should only be praised out of sheer irony, because he is bad at all possible elements that would make him successful in Hollywood. The Room is incredibly entertaining because of how perplexingly awful it is, it’s like a Lifetime Original Movie with the entire cast on valium. So matter how much other people talk about Wiseau with appreciation and sympathy in their voices, or how Wiseau’s weird aura is somehow charming to see, just remember that everything Wiseau does is a failure and the fact that he is worthy of a sympathetic award season biopic is unfathomable. And the fact that The Disaster Artist doesn’t want to truly put Wiseau’s feet to the fire keeps it from being a truly great movie.
The Disaster Artist is based on the book of the same name co-written by The Room’s co-star Greg Sestero. The movie chronicles young Greg (Dave Franco) in his journey to become an actor with high hopes but weak inspiration (he says the movie that changed everything for him was Home Alone). He’s nervous in front of crowds and has trouble remembering lines, dimming his chances of truly making it. Then he meets Tommy Wiseau (James Franco) wearing a pirate’s jacket and three different belts at the same time, grinding his groin on a community theater stage reciting A Streetcar Named Desire. To others it’s ludicrous, but to Greg it’s fearless, and Tommy finally befriends someone who believes in his madcap ambition. They move to Hollywood together but struggle to get their big break. Then, in an act of defiance, Tommy decides he’s going to make his own movie. So what if he’s never written a screenplay before? Or directed a film before? Or acted professionally? It’s all about the human spirit, along with the seemingly endless well of money Tommy has to finance the project he calls The Room. But the more the movie is made, the more everyone involved (including Greg) sees Tommy’s incompetence and truly odd behavior.
Despite its biographical base, The Disaster Artist is a comedy through and through. The structure of the film is a rags to riches story, a classic underdog tale that shows the success of a guy everyone counted out. But because said guy is such a fascinatingly strange personality is what makes The Disaster Artist such a farce. Without any prior knowledge of him, Tommy Wiseau looks and acts like a character Mike Myers made up when he was on Saturday Night Live and every possible reason why this movie works relies on James Franco’s dead-on performance as Wiseau. Everything from his voice, his accent, his body language and his mere presence is miraculous and hilarious, much like Wiseau himself. Even when the movie becomes a bit predictable, it’s Franco’s portrayal of Wiseau that’s carries the movie and is flatout one of the best acting performances of the year. On the polar opposite spectrum is brother Dave, who looks and acts nothing like Greg Sestero. Not only does Dave not have Greg’s height or facial structure, but he doesn’t even seem like he’s trying to mimic his character. It’s merely Dave Franco with a wavy blonde wig and occasionally a beard, no effort or difference from any other movie he’s in. It’s one of the most blatant examples of Hollywood nepotism ever and the Franco brothers being the stars of this movie leaves no room for any of the supporting cast (Seth Rogen, Alison Brie, Ari Graynor, Paul Scheer) to make an impact.
Directed by James Franco as well, The Disaster Artist shot like a fly-on-the-wall documentary with mostly handheld camera work and very little artistic flourish. The purpose being that Franco wants you to be on the journey with Tommy and Greg since you and your friends probably have so many questions about it. Sadly, the making of The Room and the motivation behind it remain a mystery created by Wiseau’s incompetence. Aside from the comedic timing of Franco’s performance as Wiseau, the script by Scott Neustadter and Michael H. Weber (500 Days of Summer, The Spectacular Now, The Fault in Our Stars) seems very pedestrian and doesn’t go any deeper than the basic mystique of Wiseau. It might be forgivable considering the movie is based on Sestero’s account, but that should’ve been a springboard to something deeper or at the very least more outlandish. Because of the lack of visual ingenuity or deeper dive into the source material, The Disaster Artist only feels as interesting or memorable as something like Talladega Nights: The Ballad of Ricky Bobby.
But the real thing that cuts the movie out from its legs is the ending (SPOILER ALERT). The movie’s climax is the premiere of The Room, where dozens of cast, crew, and pedestrians fill a local theater to see this interesting new movie. Right from the start, everyone in the audience can see it’s bad. Actors sink in their chairs, the crew is baffled, and the rest of the audience is damn-near repulsed. Then everyone starts laughing at the absurdity they’re watching onscreen while Wiseau sheds a single tear realizing everyone is mocking his vision. He leaves the theater is shame until Greg convinces him that the laughter is sincere, meaning The Room has successfully done what it was meant to do: to entertain. Tommy then comes back into the theater running down the aisles to cheers and high-fives, thanking everyone for liking his “comedy film.”
First off, it’s different from what happened at the actual premiere. Secondly, it actually betrays everything that made The Room popular and iconic. The Room did earn cheers and applause at screenings, but not right away. It played late at night on little-seen TV channels and small-town indie theaters, film festivals and got around by word of mouth. The Room is one of the most fitting descriptions of a “cult classic” in movie history, and for some reason The Disaster Artist either doesn’t understand that or chooses to ignore it. Instead, it gives Wiseau the corny Hollywood ending Wiseau has always wanted for his career. Hurray for him, but it makes this weird and unpredictable story end on a safe and boring note. It would’ve been much more interesting to see how Sestero and Wiseau went on with their lives after The Room failed and how they came to grips with not only accepting being attached to one of the worst movies ever made but embracing it wholeheartedly. That’s what people like about Wiseau and Sestero: they get the joke and are just appreciative that people get some sort of joy of it. If anything, the cult success of The Room and its stars’ acceptance is a true form of humility. The ending of The Disaster Artist is practically rewarding someone for their unhinged abuse of power to please a madman.
To be clear, The Disaster Artist is not a bad movie. Far from it, as it’s chock full of legitimate laughs and behind-the-scene details on one of the greatest cinematic question marks. But even the career highlight performance of James Franco as Tommy Wiseau can’t block out how The Disaster Artist ends like a propaganda piece for Wiseau. It could’ve told the full-on truth about The Room’s success and that would be a more fitting tribute for him, but instead pacifies the near 15-year campaign for Wiseau and his creation to be taken seriously and given its true victory. So much like Wiseau himself, The Disaster Artist is a failure.