Studio:October Films ,Prod.Herb Nanas.Dir.Albert Brooks ,Stars Albert Brooks, Sharon Stone, Andie McDowell .Release date:Fri. August 27,1999..Theater:20scr.Movie played on:1 scr. 30 to 40 patrons.

Albert Brooks directs far too few films, and each one is a gem. The Muse is certainly no exception. From Real Life, through Modern Romance, Lost in America, Defending Your Life, Mother, and now The Muse, Albert uses his insider knowledge of the movie business, the tenuous nature of relationships, and popular culture, to fashion raucous, funny comedies that are also cautionary tales in disguise. That they work on many levels, much like his earlier stand up work and comedy albums did, testify that although we think of Albert Brooks as a comedian, he, like Woody Allen, deals with the human condition, and our place in the world. The comedies are funny, yes, but have an underlying "knowledge" of humanity and it's foibles.

As the film opens, Steven Phillips (Brooks) and wife Laura (Andie McDowell) are in the audience at the Humanitarian Awards where he is about to win a career retrospective award. Steven is a screenwriter who has "lost his edge", but doesn't know it, and much like the "classic" Albert Brooks character (even in his acting only jobs like in Broadcast News) he is blissfully unaware of his predicament until it slaps him in the face. In this instance, when he reports to the Paramount lot to receive word from the studio honcho about his latest script, the executive (Mark Feuerstein, in a particularly smarmy turn) buys him lunch and gives him the zinger which propels the plot. For the remainder of the movie, Steven searches for inspiration, and for a hook to find his edge back. He is blustery, foolish, eager to gain control of his situation, and intelligent enough to know when he is in the deep end, but he never would have believed that his salvation is going to be the Muse of the title.

Sharon Stone plays Sarah, introduced by fellow screenwriter Jeff Bridges as "one of the nine daughters of Zeus." Steven doesn't really believe in the concept at first, but of course seems to have no recourse than to "take a meeting" with Sarah when one is set up. Thus the comedic rollercoaster begins.

Let me say that I have always believed Sharon Stone has pretty much wasted what could have been a remarkable career. She will, in the future, probably be noted more for her "movie star trappings" than for any one role, unless of course that role is Basic Instinct. As The Muse, she lets loose a veritable barage of comedic cannon fire. There are certain scenes (how she sips her drink when lunching with Andie Mcdowell, for instance) where her body language, and line readings bring to mind such luminous talents as Carole Lombard, or even, yes, Marilyn Monroe. I don't want to say that she carries the picture, because Albert is certainly the main presence in the piece, and Andie McDowell is certainly more than window dressing. In fact, her character is written very well. Since this is a movie about writers, I will mention that Albert and Monica Johnson have collaborated on many of his scripts, and theirs is a masterpiece this time, as well. No character gets short shrift in this movie. Heck, even the cameos, by Martin Scorscese, Rob Reiner, James Cameron, and Wolfgang Puck, are right on, and last a scrumptious amount of time. I especially like Marty's pitch to Steven about remaking Raging Bull, only with a "thin, angry" character. As the pitch unfolds in the film, I could imagine Albert envisioning the tiny (as compared to Albert) Marty imploring "He's thin, and angry. Thin, and angry. Angry, but thin." This is a true movie moment for me.

As usual, I really don't want to go into depth about the plot. This is one of those insider movies, like The Player, and the more the audience knows about "the biz" the better, but the insider jokes pale in comparison to the warmth Brooks gives to his characters. Andie really stands out in her role. Sharon Stone sizzles and handles the comedy with finesse. Jeff Bridges is turning into his father with each suceeding picture. (Beau did that a while back). Mark Feuerstein delights as a studio a**hole.
I found myself laughing out loud at many of the scenes, along with the audience. As of today, I really don't remember the first weekend bo for this movie, but I don't think it will get the respect it deserves. Albert Brooks movies seem to find only the diehard fans as their audience, and this is a shame. Aside from Lost in America, I really don't think he has had a hit. And like the characters he plays, he really does deserve one.

I didn't write a review of Bowfinger, although I saw it a couple of weeks ago, and because of the similarities in genre, if not plot or theme, I would like to say, that while I found Bowfinger a delightful picture, it was a funny comedy, and did have a certain warmth to the characters, but didn't excite me like The Muse. Perhaps because I am always talking about finding my own creative muse, the aspect of an inspiring force excites me. However, Steven and Laura soon discover that it is what is inherent in their psyches which cause their creativity to flow. The Muse is simply a starting point. As Sarah says, "I don't create. I only inspire." That she does.