American Dreamer Review: When Dreams and Reality Deliriously Collide

In the delightfully offbeat comedy-drama “American Dreamer“, we are treated to the unlikely teaming of two actors from drastically different generations – Peter Dinklage and Shirley MacLaine. This odd couple pairing sets the stage for first-time director Paul Dektor’s feature, which takes an acerbic yet whimsical look at one man’s relentless pursuit of the elusive American dream of home ownership.

Based loosely on a true story from NPR’s “This American Life”, the film follows the tragicomic exploits of Phil Loder (Dinklage), an embittered and underemployed economics professor. Phil’s white whale? Acquiring a sprawling multi-million dollar mansion, despite his decidedly un-mansionlike finances.

His wildly improbable path to residential nirvana emerges when a too-good-to-be-true deal presents itself – a chance to move into a lakeside palace under the caveat that its elderly owner, the cantankerous Astrid (MacLaine), be allowed to remain until demitting the premises…permanently.

Dream Turns Delirious

Twice-divorced Phil Loder lives a rather dreary existence as an adjunct economics lecturer, novelist manqué and frequent attendee of real estate open houses far outside his modest means. However, this sad sack’s wildest fantasies appear to materialize when an unbelievable opportunity lands in his lap – the chance to purchase a sprawling lakeside mansion for a mere $240,000. The catch? He must share the premises with its current owner, the elderly widow Astrid Finnelli, until her eventual demise transfers full ownership to Phil.

Assured the spry Astrid is on death’s door, Phil liquidates his savings to secure the Faustian deal. But upon taking up residence in the estate’s dingy servants’ quarters, he discovers his “dream home” has turned a nightmarish corner. Not only is Astrid healthier than advertised, she is far from childless – her judgmental daughter Maggie is intent on protecting Mom from Phil’s perceived chicanery by any means necessary.

As farcical scenarios compound and Phil’s unraveling intensifies, he’s forced to confront whether his relentless lust for materialistic status has caused him to lose perspective on what truly matters. Astrid’s own reevaluation of her hermetic existence further blurs the lines between who is supporting who in this unorthodox living arrangement.

Acting Tour de Force

At the core of “American Dreamer” are two phenomenal lead performances that breathe vivid life into the film’s flawed yet sympathetic central oddballs. As the relentlessly obsessive Phil Loder, Peter Dinklage delivers a masterclass in nuanced tragicomedy. The actor’s prowess at mixing biting sarcasm with an underlying yearning for acceptance and love is unparalleled.

Despite Phil’s avalanche of poor decisions and self-destructive tendencies, Dinklage imbues him with a compelling vulnerability that keeps us invested. We cringe at his delusional antics and blunt appraisals of others, yet can’t help rooting for this chronically unlucky dreamer to finally catch a break. Dinklage’s dextrous handling of both the dramatic and comedic swings ensures Phil remains a well-rounded human rather than a mere comedic punching bag.

Matching Dinklage stride-for-stride is the legendary Shirley MacLaine as the irascible Astrid. At 88 years young, the screen veteran loses none of her famed comedic timing and acid-tongued line deliveries. Hers is a richly layered portrayal of a prickly curmudgeon whose tough exterior conceals reservoirs of loneliness and regret over paths not taken.

MacLaine shines in releasing brief glimpses of Astrid’s warmth and hard-won wisdom from beneath her cantankerous veneer. Her chemistry with Dinklage is electric, with their barbed banter and gradual bonding emerging as the film’s beating heart. Their spark elevates even the most absurdist plot detours into something resonant and affecting.

The supporting cast members color the proceedings with equally indelible turns. As the oily real estate agent Dell, Matt Dillon slithers through scenes with deliciously dry comic relish. Danny Glover is hysterical as a curmudgeonly private eye with surprisingly precious sensibilities. And Kimberly Quinn makes a priceless impression as Astrid’s no-nonsense daughter whose icy demeanor eventually, amusingly thaws.

Deconstructing Dreams and Dreaming

On its surface, “American Dreamer” satirizes the very notion of the “American Dream” itself – skewering the misguided belief that accumulating wealth and material possessions alone can constitute true happiness and self-actualization. Phil Loder’s quixotic quest for residential opulence despite his meager earnings lays bare the delusions of grandeur and rampant status-seeking that fuels such pursuits.

However, director Dektor seems to have loftier philosophical goals than merely mocking materialism. At its core, the film dissects the inextricable link between human connection and genuine contentment. Phil’s futile chasing of real estate “dreams” is clearly a manifestation of his profound loneliness – a surrogate for the loving family and sense of belonging he so desperately craves.

His unexpected bonding with the equally adrift Astrid thus takes on great symbolic significance. Their intergenerational friendship, founded on bickering banter, morphs into a mutually sustaining life raft – each coming to rely on the other for the nurturing they’ve long lacked. Their relationship suggests that the “dream” need not constitute ownership of property, but simply being present with those who see and appreciate us for who we truly are.

Tellingly, Phil’s most jarring nightmares visualize a life subsumed entirely by material wealth yet devoid of intimate human connections. Dektor seems to posit that the naive, consumption-oriented “American Dream” is ultimately arib and the real dream worth striving for is personal growth, human understanding, and prioritizing spiritual over mercantile values.

Artful Blend of Pathos and Pandemonium

From a technical perspective, “American Dreamer” proves an impressive tightrope-walk of seamlessly fusing pathos and pandemonium into a tonally cohesive whole. Debut director Paul Dektor demonstrates a deft hand at balancing the film’s darker, more introspective dramatic elements with moments of absurdist humor and slapstick tomfoolery.

Theodore Melfi’s idiosyncratic screenplay strikes a careful equilibrium as well – allowing breathing room for profound character insights and thematic ruminations on the human condition, while injecting ample zingers and farcical set pieces to keep things buoyant. The wittily barbed dialogue rings consistently true.

Cinematographer Brett Jutkiewicz’s camerawork highlights both the story’s opulent trappings and earthy, everyman sensibilities. His lush, almost fetishistic framing of the palatial Finnelli estate subtly reinforces the allure of such materialistic splendor. Yet he maintains an intimate, unvarnished approach during the homier character interactions, keeping the larger philosophical perspectives front-and-center.

Throughout, Dektor’s assured direction keeps all these narrative and technical elements cohesively gelled. The film’s blend of wry comedy and hard-truth drama never feels jarring or disjointed – a filmic high-wire act deftly pulled off with crowd-pleasing charisma.

Tarnished Treasures Amid the Madcap Merriment

For all its deliriously madcap merriment and resonant philosophical underpinnings, “American Dreamer” is not without its share of tarnished imperfections. Still, this quixotic dark comedy undoubtedly displays more assets than liabilities in itsatingexploration of materialism, companionship, and life’s priorities.

Carrying the lion’s share of the film’s successes are its two iconic lead performances. Peter Dinklage’s endlessly watchable turn as the caustic yet achingly lonely Phil Loder is a masterwork of tragicomic restraint. He keeps us firmly invested in Phil’s ill-advised exploits by grounding his buffoonery in deep reserves of hard-earned empathy.

As his scene-stealing co-lead, the legendary Shirley MacLaine savors every delectable line reading as the mercurial Astrid Finnelli. Her effortless commitment to Astrid’s prickly exterior and gentle insights into mortality summon decades of big-screen mastery into a compulsively watchable turn. The pair’s banterous chemistry alone is worth the price of admission.

Director Paul Dektor also deserves plaudits for his adept tonal calibrations mixing slapstick hijinks and grounded emotional truth. He and writer Theodore Melfi largely stick the landing in balancing wry humor with somber intergenerational drama – no small feat.

However, “American Dreamer” does stumble somewhat in its overstuffed subplotting. Extended detours involving Phil’s ill-advised affairs and extra legal woes often disrupt the narrative’s graceful flow rather than enhancing it. Such asides frequently undercut the hard-won character shadings of Phil and Astrid with more one-dimensionally zany antics. A more disciplined focus on fleshing out their dynamic might have cemented the film as a minor classic rather than a flawed gem.

As is, it registers as a fascinating if imperfect rumination on life’s true priorities – favoring human connections and self-actualization over mere material acquisition. In that thematic ambition, it reminds one of cult comedies like “Harold and Maude” in its ability to mine both hearty guffaws and poignant soul-searching from its eccentric characters. While not achieving those lofty heights, Dektor’s debut remains an entertainingly idiosyncratic reminder that the dream of attaining “things” will eternally rank second to dreaming of ways to cherish those around us.

Eccentric Indulgence Earns Its Sentimentality

For all its occasional narrative missteps and scattershot subplotting, “American Dreamer” remains a curious and compelling watch – a distinctively eccentric blend of melancholic character study and deliriously broad comedy. Its greatest strengths emerge from the exquisitely nuanced work of leads Peter Dinklage and Shirley MacLaine, whose rapport electrifies even the most outlandish story beats with hardscrabble authenticity.

Director Paul Dektor’s tonally audacious debut ultimately lands as a refreshingly idiosyncratic ode to human connection’s ability to foster contentment over empty material pursuits. By turns gut-bustingly funny and soul-bearingly reflective, the film makes a persuasive case that the oft-mythologized American Dream is better achieved by nurturing our interpersonal dreams instead.

For the sheer delight of watching its iconic stars riffen with relish, to say nothing of its admirably big-hearted yet clear-eyed existential perspectives, “American Dreamer” easily earns a recommendation. An eccentric indulgence well worth savoring.