Starring: James Franco, Dave Franco, Seth Rogen
Directed by: James Franco (“Child of God,” “As I Lay Dying”)
Written by: Scott Neustadter & Michael H. Weber (“500 Days of Summer,” “The Fault in Our Stars”)
“The Disaster Artist,” a comedy documenting the creation of the cult-classic film “The Room,” is based on the book of the same name by co-star Greg Sestero and Tom Bissell. Over the years, I’ve become intimately familiar with both stories: the over-the-top tale of the film featuring Johnny and his love for Lisa, undone by her infidelity with Johnny’s best friend Mark, and the book featuring the equally over-the-top tale of how the batshit movie came to be.
The film, like the book, chronicles the meeting of Tommy Wiseau (James Franco), a mysterious man with an inscrutable accent and long black hair who looks much older than he says he is, and Greg (Dave Franco), a fresh-faced 19-year-old struggling to make it as an actor in San Francisco in the late ’90s.
Tommy and Greg become friends–in Tommy’s case, Greg is really his only friend–and move to Los Angeles to make it big as actors, despite Tommy’s eccentric behavior and his cryptic warnings to Greg to not tell anyone anything about him and his increasing jealousy of seemingly anything Greg gets that he doesn’t, like an agent, or something that steals Greg’s attention, like a girlfriend.
After they both struggle to find work, Tommy vows to write a film for he and Greg to star in and, with Tennessee Williams’ “A Streetcar Named Desire” as his inspiration, Tommy bangs out the script for “The Room” and digs into what one character calls a “bottomless pit” of money to produce his “All-American” vision his way, including the unorthodox practice of buying film equipment over leasing it and using it to shoot film and HD video side-by-side.
Tommy himself and the script for the film baffle crew members, including the script supervisor and de facto director Sandy (Seth Rogen) and director of photography Raphael (Paul Scheer), who both nearly quit over Tommy’s outrageous behavior, only to be talked out of it by Greg, the checks that are still clearing, and the notion that no one will see the film anyway.
Of course, the film saw the light of day in 2003 and became a midnight sensation thanks to Tommy’s paying to keep it in theaters (to qualify for the Academy Awards!) and an infamous, ominous billboard that lorded over Hollywood for more than a decade.
Easily his best film as a director to date (most of them are really weird and terrible), James Franco also disappears incredibly into Tommy, making him more than just a weird accent and greasy black hair, but also leaving the mystery of Tommy effectively intact. Sure, the audience might want to know some simple things like where Tommy came from, where he gets his money, and just how old he is–but the real Wiseau has never publicly revealed that either.
Franco’s wonderful performance, like the film itself, is easily on par with the Johnny Depp-Tim Burton biopic “Ed Wood,” that film a career-best turn for both, about a delusional, never-give-up director of terrible-yet-sincere movies that share DNA with “The Room.”
The question remains if “The Disaster Artist” will play to a crowd that isn’t familiar with “The Room” and all of its foibles. As someone who has seen “The Room” a dozen times or so, this question is difficult to answer, but without a doubt “The Disaster Artist” is delightfully hilarious and, like the inimitable Tommy Wiseau, has genuine heart.