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But somehow the upper-crust society is intrigued by the kind of deviance that Paul’s outsider represents.Ī multi-layered satire, there’s a lot more going on beneath the surface of Six Degrees of Separation. It turns out that Paul is a con man, one who succeeds in fooling all of the Kittredges’ friends by using the same strategy–and charm. The next morning, however, when Quisa finds Paul in bed with a male hustler she asks the intruder to leave. He even promises to cast them in his father’s film version of the Broadway musical Cats–if they let him spend the night at their apartment.
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Claiming to know their children, the smart and charming Paul tells his hosts that he’s the son of renowned movie star Sidney Poitier and offers to cook a delicious meal. But they have to fight hard to maintain their luxurious lifestyle: the Fifth Avenue duplex, the art collection, the Ivy League education of their children.Īn art dealer, Flan is entertaining a wealthy South African friend (Ian McKellen), who may help him finalize a transaction that involves selling a Cezanne to Japanese investors, when Paul (Will Smith), a young, handsome black man who’s bleeding and needs help, burts into their home. Quisa and Flan Kittredge (Stockard Channing and Donald Sutherland) are members of the upper class by ambition and aspiration, if not by birth. Though his film is not as powerful or rewarding as the stage play, Schepisi deserves credit for maintaining the work’s sensibility intact.
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In transferring the play to the screen, Australian director Fred Schepisi (Plenty, Cry in the Dark) was faced with the challenge of how to maintain the play’s emotional impact and yet make it cinematic. The stylized production, fast-moving rhythm, and Stockard Channing’s dominating performance all contributed to a great theatrical experience. When I saw the play in New York, three years ago, I felt it was a smart contemporary satire about the vast differences–but also similarities–between society’s “haves” and “have-nots.” Guare painted a searing, often hilarious panorama of urban America, as he saw it in 1990, a kind of summation of the “culture” inspired by the Reagan-Bush regime. This crisp adaptation opened in limited theatrical release last month, to qualify for Oscar nominations, and is now getting wider distribution. It seems appropriate that the film’s real and phony artworks are casually intermingled.When was the last time you saw an American film that was so rich in ideas you wanted to see it again? Or a film in which a witty dialogue was delivered so fast, you had to be alert all the time–or else miss a lot of wisecracks?įred Schepisi’s Six Degrees of Separation, based on John Guare’s long-running play, is as “Off-Hollywood” movie as any can be. The film uses its extras as skillfully as it uses a mock Kandinsky, which is prominently featured. Seldom has a play been opened up this spiritedly, with a crowd of onlookers to hear Flan and Ouisa’s titillating story (a role once played by the theater audience), a number of well-chosen New York locations and an array of people and paintings to flesh out Mr. This version may horrify purists, but it winds up working entertainingly on its own broader, flashier terms. Schepisi’s directorial vigor wins out over his film’s skittishness. Who among us can say that even of our own families?” read more There’s nothing about the film that I would change. When I tell you it’s a perfect movie, I do so in the knowledge that this is a ridiculous assertion, and that there is no such thing as perfection.
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“ Six Degrees of Separation is one to which I regularly return. He was equally tactful with Will Smith…” Read more Press It was fascinating to observe him gently guide her away from the bold theatricality of her stage creation and successfully adapt it to the intimacy of the camera. “I had seen Stockard Channing in the London production of John Guare’s play – and I was glad that Fred had wanted her to bring her stylish performance to the screen. Ian MacKellan on Six Degrees of Separation: Discovering their roles as gullible victims, they decide to look into the scam. The story of a New York couple (Donald Sutherland and Stockard Channing) who are duped into believing that a young man is Sidney Poitier’s son. Stockard Channing, Will Smith, Donald Sutherland, Ian McKellen, Mary Beth Hurt, Bruce Davison, Anthony Michael Hall, Heather Graham, Eric Thal, Richard Masur.