I'm just a soul whose intentions are good…

As part of Culture Snob’s blogathon on Misunderstood Movies, I thought I’d give my thoughts on three-time Razzie nominee Mr. Deeds, the film that was actually my number 1 movie of all time before I saw The Shawshank Redemption on my 14th birthday. I don’t love it as much as I did then, but it is a film that I hold very fondly in my heart, and feel has been extremely misunderstood.

Firstly, yes, it’s a remake of the Frank Capra 1936 classic, with Adam Sandler stepping into Gary Cooper’s shoes, and yes, Sandler is not exactly an ideal imitation of Gary Cooper. But I genuinely feel that Mr. Deeds borrows the storyline and the storyline only from Capra’s ’36 version, like the British soap "Hollyoaks", Mr. Deeds *knows* how ruddy awful it is, and doesn’t have aspirations of anything better. So it should be enjoyed as that, and not judged by the predecessor. If anything, the producers ought to be hailed for being brave enough to remake such a cherished classic! Furthermore, I get the vibe that lots of critics just groaned at the prospect of “another Adam Sandler movie”, when there really is no such thing. Except maybe Anger Management.

Despite its aspirations of mediocrity, it delivers as promised on most levels, as well as managing to reach moments of comedic genius. Mr. Deeds exploits fully the sort of gags and humour Sandler's previous films have called on with success (Buscemi and Tutorro are both here again in wonderful supporting roles), while adding new, unforgettable moments, such as the hilarious sliding down stairs sequence.



Furthermore, the central character of Mr. Deeds is actually a pretty decent guy. With an endearing character the audience can actually root for, what this movie does is milk the comic elements of Sandler’s acting range, whilst subtly giving us all a lesson on morality, and the ever-lasting message that money isn’t everything. Like Mr. Deeds and Winona Ryder’s character, we come to learn this through the movie. Adam Sandler, who surprised critics with his other 2002 effort, Punch-Drunk Love, is not so superlative here as he is in Paul Thomas Anderson’s masterpiece, but his performance certainly is good, I feel.

So, I urge everyone who originally hated Mr. Deeds to check it out again. It is admittedly slushy, it is admittedly cringey, but it’s definitely misunderstood.

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