The screenplay for “Masked and Anonymous” was written by director Larry Charles and legendary folk musician Bob Dylan,who lived up to the title and went under the fake names of  Sergei Petrov and Rene Fontaine. The end result is an interesting experiment in film making that pushes audience expectations to the limit.
Larry Charles (“bruno”) has been trying to break the fourth wall in movies for years by taking unique chances in the projects that he has been involved in. Often taking a comedian and placing them in real-life situations, which exposes the audience to the fact the ordinary has the potential to become the extraordinary. He even sometimes delivers the message that standing up for your beliefs is important, especially when society tells you differently. That spirit is evident in the scripted “Masked and Anonymous,” which features a talented cast supporting Dylan’s return to the cinema.
The plot is set in a future that doesn’t seem that far-fetched. Society is run-down and the world has lost any sense of value. The picture follows Jack Fate (Dylan) who has been released from prison to perform at a charity event. If he doesn’t perform, Uncle Sweetheart (John Goodman) will be murdered on the spot.
Fate’s journey is a philosophical one, where he meets many unique characters along the way. The main drawback is that Dylan (looking like Vincent Price) is not an actor and shows minimal emotions. This can be overlooked because he is supported by an amazing cast, in minor roles that speak poetically. Occasionally their dialogue mirrors lyrics to Dylan’s music.
Jeff Bridges plays an intense version of “The Dude” from “The Big Lebowski,” Tom Friend. Friend represents the smarmy side to journalistic reporting and while posing as a friend, there is often more to it. Bridges is cool and calm but never showy in a strong supporting performance.
Bridges’ “King Kong” (1976) co-star, Jessica Lange, portrays Nina Veronica. This is not her best work. Her performance is lazy and not crucial to the structure of the story. Veronica is often in the background and annoyingly speaks to tell Sweetheart what a failure he is.
Goodman’s portrayal of Uncle Sweetheart ranges from severely anxiety ridden to a calmer side as he tries to figure it all out; a perfect balance for a man whose life is on the line. Throughout the movie, one is left wondering if Sweetheart is a jerk or just a man trying not to sink.
Penélope Cruz is excellent as Friend’s girlfriend that seems to the true side of this mystery man. Cruz’s character is conflicted from a traumatic past that is never elaborated on, but is only understood through her nervous mannerisms.
Then come the cameos: Luke Wilson plays a supporter and friend to Jack Fate, Christian Slater and the late Chris Penn play two philosophizing stage hands, (The film could have used more of them.) Ed Harris appears in black face, Cheech Marin is waiting for a bus, Mickey Rourke is next in line for the presidency and  Giovanni Ribisi is a conflicted soldier.
However, the best cameo comes from Val Kilmer as the animal wrangler. In a two-minute dialogue, he manages to create a fully-fleshed out character. His accent is much similar to the one he used in “Tombstone” and his performance even livens Dylan up a little. Kilmer leaves you wanting more and that is the mark of a truly gifted performer.
The movie has a gritty and authentic feel throughout and, at times, the outlook feels truthful, yet bleak. It is not a simple piece of art to understand and requires the viewers to think for themselves. At times infuriating, because of the darkness throughout, it is still an overall rewarding and artistic triumph.
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