Bedazzled (2002)
Starring Brendan Fraser and directed by Harold Ramis, the remake of the 1960s cult classic of the same name which starred Peter Cook and Dudley Moore in a rare foray into feature film production following a successful television work.
This 2002 released film was marketed as a platform for Fraser to cement his ever burgeoning leading man persona with a stab at broad out and out comedy having capably shown his comedic chops in action films such as The Mummy (1999) where his comedic timing and dialogue delivery was key to the film's success.
It was also an attempt to bolster Elizabeth Hurley's leading lady credentials as the well had gone dry since Austin Powers: International Man of Mystery. Hurley's casting was less to do with her ability and more to do as a nod of appreciation to the British heritage of the film now appropriated by an American comedic director.
This version of the film stars Fraser as Elliot, a well-meaning computer processor in San Francisco who wants nothing more than to fall in love with Alison (Frances O'Connor), who is cast as the unattainable ideal for him. Elliott meets the devil (Hurley) she grants him 7 wishes for his soul.
From here the film becomes a showcase for Fraser to don many a hat and make-up in various guises and personas, yet each costume change comes with a catch - as a drug baron he has an unloving wife, Alison - who appears as the object of affection in each wish sequence- as a sensitive soul he has no sex appeal and as a fantastic athlete he is unfortunately not that well endowed where necessary.
Elliott's unfortunate shortcomings are an allegory for the film itself which runs out of gas by the sixth and seventh wish when Elliott knows he is facing a losing battle with the Devil. The film itself was not met with universal praise or acclaim, yet over time Fraser's performance has grown to one of great appeal due to his changing gears from scene to scene - his ability to go from druglord to NBA superstar whilst still remaining essentially himself at the core is very hard to do, yet he is able to find layers amidst the latex.
Take the scene - his second wish - where he wants to be a sensitive understanding man. The scene is at a seashore, he has made a picture perfect picnic for him and Alison. Yet Alison feels drowned and overwhelmed in compliments and sensitivity and would prefer some a man who knows what he is doing in the bedroom department which this version of Elliott, heavily emasculated is lacking in. Yet the scene revolves around a sun setting during the Magic Hour (Terence Malick might approve) and how overcome with emotion Elliott is by this wonderful moment of nature as he bursts into tears everytime he looks at it. As the sun never goes down seemingly, he get more and more emotional with the moment building to a crescendo of tears when he summons the Devil to end this wish. It's the standout moment of the film and for Fraser it became meme worthy as time has past, sadly the remaining wishes could not measure up to this scene particularly.
The third wish sees Elliott as an NBA superstar, in this guise he has weird teeth but the intensity Fraser brings to the role as the boneheaded athlete who is more brawn than brain, establishes this character as lacking in comparison. This is cemented when Alison as a locker-room sports journalist is eager to see how endowed this athlete must be (you certainly would not be able to depict a female character like this in 2023), and beneath Elliott's towel is apparently a very small genetalia prompting Alison to leave for a 'big' story elsewhere.
The fourth wish depicts Elliott as a literary revelation, a maestro of wordplay hosting a swanky launch party at his penthouse apartment, which in his eyes is merely a ruse to woo Alison. As the scene plays out, you do get the impression that Elliott may have finally landed Alison as the party ends and they share longing looks over champagne, Elliott begins his seduction by talking to her about what he may do to her in the boudoir. Alison is a willing partner, and yet Elliott keeps talking they do not clinch and he keeps talking. As they enter the bedroom, fate hits and it transpires that this Elliott is gay with his same sex partner patiently waiting in bed for him. Foiled again, Elliott ends the wish.
The fifth wish has Elliott wanting to be President of the United States, and in the shortest sequence, the devil is clearly having too much fun as she makes him Abraham Lincoln on the way to the Ford Theatre on the night of his assassination.
The cleverness and brilliance of Fraser's performance is the physicality he brings to it, a tall and broad man in his own right like his predecessor Christopher Reeve and his successors Chris Hemsworth, his presence alone brings so much to his roles from the outset - he is a person to take notice of, none more so than his debut as Encino Man (as a frozen caveman opposite Pauly Shore and Sean Astin), where he is mute for most of the role but his deftness of physicality adds to the slapstick humour of a man out of time as he comes to terms with modern conveniences and electricity.
Mentioning physicality you have to note that Fraser's natural stance and build is quite imposing, this is used to great effect in the film as he towers over the supporting players and cast and this gives Elliott a gentle giant quality that might have been lost on others. In other films it serves well, his underrated performance in The Quiet American opposite Michael Caine where he is shot a lot from underneath to give him this arresting presence in the Graham Greene adaptation, he comes across as akin to Orson Welles' Harry Lime from The Third Man, an enigmatic ingenue with his cards close to his chest.
Which all in all, it is a shame that this film did not connect as well as it was hoped for and perhaps began the slowdown of Fraser's ride to A-list stardom, and the years in the wilderness that would seemingly follow. The film may be called Bedazzled but if you have never seen it, do seek it out as Fraser's performance alone is worth the admission money.
