The Mask

This was a pretty big sleeper hit, the critics liked it, it solidified Jim Carrey's movie career, and the special effects are pretty dazzling. For some reason I still get the sense it's underappreciated. Carrey as the Mask gets the lion's share of the praise, and Milo stealing the show gets the rest. But it's a pretty solid movie, especially because it utterly messes with your expectations for this sort of "Nice Guys Finish First" story.

One thing I don't think anyone has ever complimented the film for is Carrey's performance as Stanley Ipkiss when he's not wearing the Mask. Frankly, I think him as the Mask should have had a bigger part in the climax than he did, but I think Carrey's role outside of the Mask is very unsung. His performance in the entire film is also outside of the rest of his career. He plays obnoxious creeps in Ace Ventura, Dumb And Dumber, and The Cable Guy. And he occasionally plays the "Aw shucks!" Everyman (see The Truman Show and The Majestic). The Mask is a singularly unique Carrey film in that he's allowed to play both. And frankly, Stanley's charm is very rare for a Carrey character at this stage of his career. He was exclusively playing loons for his first few movies. Except for Stanley outside of the Mask. I'm rooting for him.

A lot of the humor has not aged well. It's supposed to be played for laughs when the Mask jams mufflers up the crooked mechanics' butts. In reality, it's sexual assault, specifically rape. However, I DO think his Pepe LePew routine with Tina (played by a super young Cameron Diaz in her first and sexiest role) is sort of charming because she does want it. But she's not the only person the Mask kisses unasked.

But really, I think the film does not get enough general credit for the non-Carrey or VFX stuff. The sets and costumes are pure Noir, and remind me pleasurably of Tim Burton's Batman, Who Framed Roger Rabbit, and Dick Tracy. The swing, big band, and jazz music is terrific, and the fact that Stanley winds up with the film's bombshell rather than the girl next door (who turns out to be evil) is a great subversion of how movies like this are supposed to go. There's actually nothing immoral about Tina. Unless you consider her sexiness so. I don't. So Stanley should be allowed to get her at the end.

The bits with Milo in the Mask are pretty much as great I remembered. What I love is that the movie is careful to make that part of the climax relatively brief. It's such an amazing moment a lesser movie would have been inclined to drag it out and milk it. But the fact that's brief and leaves you wanting more is partly why it's great.

I was always saddened that comedian Richard Jeni committed suicide years ago, but I always hope he considered being a part of this movie a career highlight. It makes me smile to see him in such a strong project.

People have complimented the make-up job on the Mask and I want to affirm how amazing is it. As far as heavy prosthetics go, they always seem to hinder an actor's expressions and facial performances. This is the rare exception, and it's so rare I can't think of another example. The make-up is extremely heavy, and it's still beyond expressive. Part of that is Jim Carrey doing some very heavy lifting, but if the make-up sucked, he wouldn't be able to do it at all. The make-up designers are another unsung thing about the movie.

I will say this: I think the stuff leading up to the climax is pretty shaky. Stanley calling his dog into the jail cell, which somehow doesn't wake up the guard, and getting Milo to also steal the keys is a plot turn that should occur in a worse movie. It's nonsense, and it's such nonsense I have to deduct half a star from the final grade.

This movie is well-loved. I'm not sure it's quite appreciated enough for how solid and GOOD it is though. It was a good early comic book movie effort in an era where comic book movies were rare, and good ones rarer still. ****1//2.