Leatherheads

George Clooney has often been called the Cary Grant of our generation, a comparison he clearly hopes to capitalize on in LEATHERHEADS, a true sports story via screwball comedy that makes one long for the cleverness of the old days rather than fondly recall them, as a good homage should do. While the filmmakers mean well, the script is not snappy enough and the stars not as charismatic as their 1930s counterparts to be consistently funny.

The year is 1925, and the Duluth Bulldogs are struggling to survive in the failing world of professional football. Coach Dodge Connelly (Clooney) sticks as many dirty tricks into plays as he can to ensure his team’s success, but they are nearing the end of their rope. Suddenly, Dodge has an idea; recruit a major figure onto the team to get publicity. He sets his sights on Carter Rutherford (John Krasinski) a college football star and decorated war hero. He lures him to the team with a large contract, but finds a snag accompanies it. Newspaper reporter Lexie Littleton (Renee Zellweger) has been sent by her editor to interview Rutherford and expose the truth behind his supposed heroics. Soon, Dodge and Rutherford are fighting for Lexie’s affections as national football, led by the Bulldogs, begins to gain momentum.

Most sports movies deal almost exclusively with the bond between the players, but this film has almost none of that. In fact, Rutherford is rarely seen speaking to the other players, since most of his scenes are either tender interviews with Lexie or jealous bantering with Dodge. This is one of the film’s main faults; the story is set around a very significant time in the world of sports, but it is rarely touched upon. Aside from a few montages and the obligatory Big Game climax, actual scenes of playing are rare. Instead, Clooney focuses on the romantic triangle of the film and the screwball nature of their relationships. Here again is another one of its faults. The lines are meant to be delivered fast, a la HIS GIRL FRIDAY, but they have little of the zip or wit of its inspiration.

The cast is likable enough, even if they are underserved by their roles. Clooney puts himself in full Cary Grant comedy mode, all extorted facial expressions and one-step-ahead delivery. Krasinski charms throughout, even if his actual comic abilities are only allowed to show in a few scenes; a drunken argument between the three main characters is the highlight of the film, thanks to Krainski. Zellweger proves a decent match for both men, though she is far too sweet and demure to convincingly fill the Rosalind Russell-esque role of ruthless newspaper gal.

Clooney seems far less adept at directing comedy than performing it. While the production values are spectacular and the film is beautifully shot, there is little excitement in the comedic sequences. Any laughs gotten from the film come exclusively from the actors, and while Clooney does inspire humor from his co-stars as an actor, he does them no favors stylistically. So while the film offers fantastic production values and a rousing score from Randy Newman, it never manages to be anything more than cute. And considering the talent involved, cute is a major disappointment.

*1/2/****