In the vast landscape of 1990s cinema, some films fade into obscurity, while others garner a cult following for their unconventional approach or sheer baffling nature. Carl Colpaert’s 1999 film, known interchangeably as “Façade” or “Death Valley,” is a prime example of the latter. Starring prolific actor Eric Roberts and the distinctive comedic talent of Brad Garrett, this independent thriller-drama has elicited a wide spectrum of reactions, from outright dismissal to ardent appreciation for its perceived satirical genius. This article endeavors to peel back the layers of this cinematic curiosity, exploring its convoluted plot, the performances of its notable cast, its divisive reception, and its place within the careers of its leading men.
Unveiling the Deceptive Plot of “Façade”
“Façade” plunges viewers into a labyrinthine narrative centered around Caroline Keller (Camilla Overbye Roos), a woman whose life is upended by a brutal murder. When her wealthy real estate developer husband and his mistress are gunned down, Caroline quickly realizes that she is the next target in a dangerous scheme. The murder is not a random act of violence but intricately linked to a shady hotel deal and the machinations of her late husband’s former partner.
As Caroline finds herself hunted by the same hitmen responsible for her husband’s death, she is forced to go on the run. Her desperate flight leads her to an unlikely alliance with Natassia, a prostitute whose clientele includes some of the very men involved in the convoluted land scheme. Together, these two women, from seemingly disparate worlds, form a fragile bond in their pursuit of revenge and freedom from the sinister forces hounding them. The plot, as many viewers have noted, is less about a straightforward thriller and more about a series of increasingly bizarre and illogical events that coalesce into a surreal, often darkly comedic, experience. The film’s tagline, “Sex. Murder. Lunacy,” aptly summarizes its core elements, hinting at the unconventional journey it takes.
The Cast Behind the “Façade”: Eric Roberts and Brad Garrett
The presence of seasoned actors like Eric Roberts and Brad Garrett in “Façade” is a significant draw, adding a layer of intrigue to the film’s peculiar nature.
Eric Roberts portrays Colin Wentworth, a businessman and Caroline’s former lover, who becomes embroiled in the conspiracy. Roberts, known for his astonishingly extensive filmography, often takes on roles in independent and direct-to-video productions. By 1999, he had already solidified his reputation as a versatile actor capable of intense, often unhinged, performances. In “Façade,” his portrayal has been described as “meandering,” suggesting a performance that either perfectly aligns with the film’s chaotic tone or is simply indicative of the film’s overall disjointedness. Given Roberts’s willingness to experiment with various roles, his involvement in a film as eccentric as “Façade” is not entirely surprising. He often brings a compelling intensity to his characters, even in projects that defy easy categorization. His ability to navigate diverse genres and budgets has made him a constant presence in the film industry, and “Façade” serves as a testament to his eclectic career choices.
Brad Garrett, primarily celebrated for his Emmy-winning comedic role as Robert Barone in “Everybody Loves Raymond,” which was a massive hit during the time “Façade” was released, offers a departure from his usual fare in this film. While his specific role in “Façade” isn’t as prominently detailed in general summaries, his casting in a “thriller-drama” (or “dark comedy,” as some argue) alongside Roberts is noteworthy. Garrett’s deep voice and imposing physical presence could lend themselves well to a more serious or even menacing character, or, conversely, be utilized for ironic comedic effect within the film’s surreal landscape. His participation might have been an opportunity to explore different facets of his acting range beyond the comedic persona for which he is widely recognized. Unfortunately, specific interviews about his experience working on “Façade” are not readily available, leaving his insights into the film’s unique style largely to speculation.
Beyond Roberts and Garrett, the film features Angus MacFadyen, Camilla Overbye Roos (as the protagonist Caroline Keller), and Joe Viterelli. MacFadyen, often remembered for his role in “Braveheart,” and Viterelli, known for his mobster portrayals, contribute to the film’s ensemble, each adding their distinct presence to the unfolding madness.
Carl Colpaert’s Vision and “Façade”‘s Genre Identity
“Façade” was directed by Carl Colpaert, an independent filmmaker known for his unique cinematic sensibilities. The film’s critical reception heavily debates its true genre. While officially classified as a “Thriller, Drama,” many viewers and critics have argued that “Façade” functions more effectively as a dark comedy or a surreal satire.
User reviews on IMDb are sharply divided. Some vehemently denounce it as “one of the worst films ever seen,” citing “incredibly bad acting, utterly pointless plot and ridiculous scenes completely unrelated to the rest of the story.” Critics of this view often point to the “singing hippie priest” as a prime example of its nonsensical elements. These viewers typically approached “Façade” with expectations of a conventional thriller and were left confused and frustrated by its apparent lack of coherence.
However, another significant portion of the audience praises “Façade” as a “funny satire of the Pulp Fiction/Get Shorty type films.” They see it as a deliberate subversion of genre tropes, with “off balance humor” and “surreal dark comedy” being its defining characteristics. Comparisons have been drawn to the works of Luis Buñuel, particularly “The Discreet Charm of the Bourgeoisie,” suggesting an intentional absurdism and a playful disregard for conventional narrative structure. Lines like “If you’re very closed-minded and opinionated as to how things should be, you won’t like this at all, because it seems to never progress in a normal fashion” perfectly encapsulate the mindset required to appreciate “Façade” from this perspective. It’s presented as a film that “subverts expectations, and in many cases abuses them outright,” daring to be silly and unconventional.
This stark division in reception highlights the film’s experimental nature. It appears Colpaert intentionally crafted a film that defies easy categorization, perhaps aiming to challenge audience perceptions of traditional storytelling. The production, helmed by Storm Entertainment, Jacobus Rose, and Cinequanon Pictures International Inc/Cineville, likely operated within the constraints of independent cinema, which often fosters greater artistic freedom and allows for more unconventional narratives to emerge. The film’s direct-to-video release further suggests its independent roots and a target audience that might be more receptive to niche, experimental cinema rather than mainstream blockbusters.
The Legacy and Enduring Appeal of “Façade”
Twenty-five years after its release, “Façade” continues to be a subject of fascination for those who stumble upon it. Its ambiguous nature—is it a failed thriller or a brilliant satire?—ensures its place in cinematic discussions, albeit in a more niche capacity. The film’s ability to provoke such strong, opposing reactions is a testament to its unique identity. For fans of unconventional cinema, “Façade” offers a rewarding, if perplexing, experience, inviting multiple viewings to decipher its layers of irony and dark humor. For others, it remains a perplexing misfire.
In the careers of Eric Roberts and Brad Garrett, “Façade” stands out as an interesting, albeit perhaps minor, footnote. For Roberts, it’s another entry in his vast and varied filmography, showcasing his consistent presence in independent cinema. For Garrett, it’s a curious deviation from his well-established comedic brand, highlighting a willingness to explore different dramatic avenues.
Ultimately, “Façade” (or “Death Valley”) serves as a reminder that not all films fit neatly into pre-defined boxes. It challenges viewers to suspend their expectations and engage with a narrative that prioritizes atmosphere, quirky characters, and an underlying sense of the absurd over conventional plot progression. While it may not be a critical darling, its enduring presence on streaming platforms like Tubi allows new audiences to discover and debate the true intentions behind this enigmatic 1999 cinematic “façade.”
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