Brendan Stengel’s blog

A Film Re-examine by James Berardinelli


United States, 2002


U.S. Release Date:

3/1/02 (wide)

Unceasing Measurement:

1:34

MPAA Classification:

R (Sexual situations, sexual language, nudity, profanity)

Theatrical Aspect Correlation:

1.85:1
Seen at: Loews Cherry Hill, Unheard of Jersey

Cast:

Josh Hartnett, Shannyn Sossamon, Vinessa Shaw, Paulo Costanzo, Adam Trese


Director:

Michael Lehmann


Producers:

Tim Bevan, Eric Fellner, Michael London


Screenplay:

Rob Perez


Cinematography:

Elliot Davis


Music:

Rolfe Kent


U.S. Distributor:

Miramax Films

I can remember a time when I used to give things up for Lent. One year, it was my allowance. Another year, it was candy. Then there was the year I tried to give up homework (that didn't go over too well with my parents or teachers). But never did I try to give up sex. (My young age might have had something to do with it.) However, for reasons known only to the filmmakers and those select few who dissect the main character's dubious reasoning, Matt Sullivan (Josh Hartnett) has decided that, for the 40 days of Lent, he will refrain from sexual intercourse, acts of sexual intimacy, and masturbation. (For a guy in his early 20's, that pretty much eliminates any reason to live.) Thus is born the lame premise of this romantic comedy.

I accept that logic and intelligence are not among the primary (or, in some cases, desirable) traits necessary to the enjoyment of a motion picture comedy. However, calling

40 Days and 40 Nights

moronic may be a gross overestimation. This is as stupid as movies come. To be forgiven this flaw, the film needs to be a lot more amusing than it is. If you're rolling in the aisles, convulsed with laughter, it doesn't matter how inane the material is. But, when the humor is flat and repetitious, as is the case here, the absence of a credible storyline becomes a major drawback. The level of comedy, which varies from crude to insulting, reminds me of the dirty jokes that fifth graders snicker about in bathrooms when the mere voicing of a four-letter word is a source of great merriment.

Matt embarks upon his great experiment when, six months after being dumped by the lovely Nicole (Vinessa Shaw), he can't get over her. He has engaged in countless one-night stands, but finds the sex to be empty. So, he decides to abstain for Lent. He then makes the first of many mistakes - telling his big-mouth roommate, Ryan (Paulo Costanzo), about his decision. Ryan, in true entrepreneurial style, starts a pool where, for $50 a pop, entrants can guess which day Matt will slip up. (With friends like this…) Meanwhile, Matt falls for Erica (Shannyn Sossamon), a pretty girl he meets at the laundromat, and must figure out how to explain his temporary celibacy to her without sounding like a nut or a religious freak. His decision to play it cool and say nothing backfires when Erica discovers the website being run by Ryan to solicit bets over the Internet.

The genial nature of the two leads and the genuine chemistry between Josh Hartnett and Shannyn Sossamon counterbalances many of the negatives for the first three-quarters of the movie. Then, with about 20 minutes left,

40 Days and 40 Nights

implodes with a set of coincidences, contrivances, and nasty-mindedness that will leave even the most forgiving movie-goer shaking his or her head in disgust. I could cite specific instances of major logical gaffes (such as why someone would pay $3500 to join a pool with a $50 entry fee) or acts of sheer idiocy (the handcuffing), but those would just be symptoms of a larger problem: awful ending syndrome.

The kind of humiliation humor that

40 Days and 40 Nights

practices works best when the main character is a twit - uptight, arrogant, or otherwise irritating. In this case, Matt is likable and reasonably normal, so all the belittling and embarrassment makes director Michael Lehmann (


The Truth About Cats and Dogs


) come across as petty and cruel. This approach is fine if we're not supposed to care about a character, but, because the filmmakers intend for us to sympathize with Matt, it doesn't work. It's virtually impossible to laugh at someone you're supposed to be forming an emotional bond with.

Hartnett doesn't have much range, but this is the kind of role that doesn't stretch his acting ability beyond its narrow limits. Hollywood is trying to turn him into the next twenty-something heartthrob, but I have yet to see anything special about him, or any indication that he is capable of giving an inspired performance. His attractive co-star, Shannyn Sossamon, shows a vast improvement over her better-to-be-forgotten turn in


A Knight's Tale


. She's a natural in this role, catching the camera's lens and the viewer's eye. Hartnett and Sossamon work well together, and, while that's important to the success of a romantic comedy, it's not the only critical element.

40 Days and 40 Nights

gets this right, but not much else. If you're desperate to give something up for Lent, make it movies like this one.

© 2002 James Berardinelli

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