Movie review: ‘Shallow Hal’

I cannot exactly say why I like “Shallow Hal” so much. Like other films, it has a wonderful message, solid acting along with that something special that all great films exhibit. However, it doesn’t exactly match everything to earn “great” from real critics, but, then again, I guess I’m like the main character in “Shallow Hal” who sees the best in someone or something – and in my case it’s the great in this film. Also, it’s because of the work of the wonderful Farrelly brothers, who have given us other sensational films such as “There’s Something About Mary” and “Me, Myself and Irene.” Their creative touch is obviously magic here. Check it out again if you’ve seen it and certainly see it if you haven’t.

‘Shallow Hal’
(2001; 114 minutes; rated PG-13; directed by Bobby and Peter Farrelly and starring Jack Black, Gwyneth Paltrow and Jason Alexander)

HE’S REALLY NOT SO SHALLOW

(NOTE: I expanded this review with additional opinion, more trivial and the updating of links on Nov. 8, 2016. I again expanded the review on March 28, 2020. I again expanded the review on Feb. 25, 2024.)

A one-joke or one-premise film can easily be a winner. Just take Jim Carrey in “Liar, Liar” as just one example (click here to read my review). Another is one of my favorite recent films: “Shallow Hal” with Jack Black at the title character. Along with “Thank You for Smoking” (click here to read my review), I have to say “Shallow Hal” is the best least-remembered films of the past 25 years.

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“Shallow Hal’s” plot is simple: A superficial man is changed to see something that he had never bothered to consider before – a woman’s inner beauty and not her physical appearance. The change brings him great happiness, but at the same time bewilders just about everyone else who knows him. His best friend is the most flummoxed and ultimately spoils the deal by returning Black to his previous state and then the whole thing has to rectify itself before we get our happy ending.

It’s the exceptionally talented and creative Farrelly brothers (Bobby and Peter, for the record) who keep this concept fresh throughout the film and they work hard to make sure that the premise doesn’t just become a stereotypical joke. They are co-writers along with Sean Moynihan, and directed “Shallow Hal.” The attention to detail that made “There’s Something About Mary” so special three years earlier is in full-force here.

The creative part of this is what Black sees in a woman or, rather, doesn’t see at times, even if she appears to have stunning looks. It’s a nice play, especially the character of the nurse who could be a Playboy Playmate in real life, but appears to Black as if she should be riding a broom in “The Wizard of Oz.” He sees only her inner-self, not her stop-a-war beauty … and this is totally fulfilling to him: He doesn’t judge her based on her looks, he’s judging her character alone (even though he doesn’t realize it).

The best-executed visual device is how the Farrellys use reflections to show Gwyneth Paltrow as she really is as the morbidly obese “Rosemary ‘Rose’ Shanahan” or that you see Paltrow sitting down and her weight (non-weight in the visual) making a chair collapse.

While being extraordinarily happy, he’s confused because of all the fat/beauty contrasts he experiences. He’s happy because he’s enjoying life with someone worth spending time with and doesn’t understand things from his friend’s comments or the size of Paltrow’s panties when he picks up a pair.

Of course, there is the usual roller coaster of emptions; perceptions explored and exposed; and the film winds up with an endearing, positive message that makes this a truly special film.

Here’s a look at some of the principal cast:

• Although better recognized from “School of Rock,” three-time Golden Globe nominee (not for this one) Black as “Hal Larson” is pitch perfect here. He flawlessly delivers physical comedy, expressions and emotions with such apparent ease that you could forget the talent it takes to accomplish this feat. Black is especially successful as he makes his way meeting the people he has come to care so much about but now sees a physical persona that he would have rejected at first. His scene at the hospital meeting children near the end after he returns to seeing their real physical presence is especially poignant (yes, I know you knew it was coming, but it’s done very well). Black has also been in “Saving Silverman,” “Nacho Libre” and “Tropic Thunder” and even is about the only bright spot in a small role in a stinker called “The Jackal” with Bruce Willis (click here to read my review).
• As much as I like the film, I’ve never been enthralled with the work of Oscar winner (not for this one) Paltrow. It’s bland work by her in this one, especially given the material and there’s nothing that would make me watch any other of her films. I’d say just about any other actor could have done a better overall job than Paltrow in this one. She does do sad, crying emotion well, but only that just doesn’t get it done in this one. Paltrow has also done … ah, who cares? I don’t and she should just go on shilling her crap to the gullible public and stay out of films.
• The absolute best supporting actor work doesn’t even come from an actor. It is from self-help guru Anthony Robbins, who is in a cameo and meets Black in an elevator, where they get stuck together. As they talk, Robbins is appalled by Black’s personal philosophy and then “helps” him change. Robbins shows the versatility of a veteran actor as he is incredulous at Black’s description of his perfect woman and then hypnotizes Black into only seeing a person’s good. I’d just watch this scene if I had to pick one from “Shallow Hal.” Robbins has had cameos as himself on a variety of TV shows and even had an uncredited role as an alien on a monitor in “Men in Black.” His cameo here is equal to the best cameo in film in the past 50 years: Bill Murray in “Zombieland” (click here to read my review of that one).
• Next up in the stellar supporting performances is by Bruce McGill, who is most recognized as “Daniel Simpson ‘D-Day’ Day” from “National Lampoon’s Animal House.” In a brief scene at the opening of the film, McGill plays Black’s dying father “Rev. Larson.” Despite being a pastor, he offers to a young “Hal” some very sexist and blatant sexual comments from his deathbed. The advice is obviously what formed Black’s adult character. McGill has also been the judge in “Runaway Jury” (click here to read my review) and the sheriff in “My Cousin Vinny” among his 168 acting credits across a career spanning six decades from the first in 1976.
• A four-time Golden Globe nominee and eight-time Primetime Emmy nominee, TV’s “Seinfeld” sidekick Jason Alexander plays Black’s best friend “Mauricio Wilson.” Alexander shows basically an extension of his “George” character here with his easy frustration, shallowness and inflated opinion of himself. Hey, if you’re good at it, go with it. Alexander even has a vestigial tail here (another great Farrelly detail). He is very good across the board and doesn’t have any letdown in his effort in this one. Alexander has also been in “Pretty Woman” as well as dozens of TV shows including “Monk” and an episode in the avalanche of crap that “Two and a Half Men” became with the incredibly talentless Ashton Kutcher.
• Veteran character actor Joe Viterelli plays Paltrow’s father “Steve Shanahan” and does it with laconic ease. Viterelli is more familiar in gangster roles from “Analyze This” and “Analyze That” to an uncredited role as a crime boss in Tom Cruise’s “The Firm.” He had a somewhat brief career in Hollywood with just 34 acting credits, from the first in 1990 when he was 53 years old to the last in 2002. Viterelli died at 66 of a stomach hemorrhage in 2004.

I’m not only impressed with the Farrelly brothers’ talent at making great films and getting the most out of their headliners, as I’d say they have few equals in Hollywood in comedy or drama for getting exceptional work from supporting actors. Only Martin Scorsese, who works with top-shelf casts in all his films, would stand above them.

The Farrelly brothers also know how to close out their film: They use a familiar tune and you’ll see why they obviously named Paltrow’s character “Rosemary:” it’s “Love Grows (Where My Rosemary Goes)” by the “Edison Lighthouse” from 1970. They closed out “There’s Something About Mary” with another one-hit wonder: “Build Me Up Buttercup” by “The Foundations” from 1968.

It’s unbelievable to me that “Shallow Hal” was only the 34th ranked film at the U.S. box office in 2001 with $70.8 million in receipts, according to Box Office Mojo. It was made on a $40 million budget and brought in a total of $141 million worldwide, according to Wiki. The No. 1 film of the year was “Harry Potter and the Sorcerer’s Stone” with $317.5 million and the biggest grossing comedy was “American Pie 2” (No. 13 with $145.1 million), if you count “Shrek” (No. 3 with $267.6 million) as animation and not comedy.

• “Enemy at the Gates” (solid WWII film) – click here for my review
• “Good Advice” (not bad Charlie Sheen) – click here for my review
• “Jurassic Park III” (excellent sci-fi) – click here for my review
• “Ocean’s Eleven” (really good reboot) – click here for my review

Assorted cast and film notes (via IMDb.com):

• “Shallow Hal” was nominated for three awards (film, Black, Paltrow) at the 2002 Teen Choice Awards.
• On the day of his death, Viterelli had been married 43 years to Catherine Brennan and the couple had five children.
• Directly from IMDb.com: “In Roger Ebert’s review he states, ‘Only the most attentive audience members will catch the Farrellys’ subtle reference to a famous poem by Emily Dickinson.’ Ebert’s reference is to a fly that buzzes in the death scene of Hal’s father; the poem is, ‘I heard a Fly buzz – when I died’”
• In an ironic turn, Black was quoted as saying he had to lose weight for the film.
• Robbins’ wife gets his autograph during the film.
• A milkshake that Paltrow chugs is done via CGI.
• Finally and directly from IMDb.com: “Joshua ‘Li’iBoy’ Shintani‘s casting as Li’iBoy was a complete accident. While vacationing in Hawaii, sightseeing by car, Peter Farrelly passed Shintani he sat outside a public library, playing his ukelele. Farrelly knew Shintani would be perfect for a role, asking him to come to Los Angeles for a screen test, where Shintani was immediately cast.”

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