Tommy Wiseau

TPW Films

Tommy Wiseau
Juliette Danielle
Greg Sestero
Philip Haldiman
Carolyn Minnott
Robyn Paris
Mike Holmes
Kyle Vogt
Greg Ellery

THE ROOM: USA 2003, Digital, Color, English, R, 99 min


An American black comedy about love and passion, betrayal and lies. It depicts the depths of friendship and relationships in one's life and raises life's real and most asked question: "Can you ever really trust anyone?...Are you ready to see reflections of your life? A successful banker, Johnny, is madly in love with his fiancé, Lisa, and plans to be married next month. His plans take a horrid turn when he finds the truth about Lisa and the people surrounding him.

The 2003 movie is a cult flick in the classic sense that it's something passed along from friend to friend, ignored almost wholly by the media. It has taken on a life of its own, growing from an almost imperceptible several-week run at a Los Angeles theater to a favorite at midnight movie sessions from L.A. to New York to Phoenix and Atlanta. But it's also not a cult flick in the classic sense; those movies tend to veer towards the fringe or the outré, generally trucking in sci-fi, fantasy and horror genres. The plot of The Room, however, is almost astoundingly mundane, detailing a love-triangle melodrama between our hero Johnny, his harridan of a girlfriend Lisa and his remorsefully disloyal best friend Mark.

What keeps 'em coming back for screening after screening, though, is the magnetic presence of Tommy Wiseau, the film's enigmatic writer, producer, director and starring lead actor, a man with a flowing mane of dark hair, an indistinct Eastern European accent and creatively unpredictable line delivery. The Room has been called "the best worst movie ever made," but that doesn't really capture its appeal. Sure, its occasional focus problems, overwrought love scenes and not-even-close-to-resolved plot points have drawn criticism, but despite the outward trappings of ineptitude, The Room boasts a deeply seeded sense that it is a truly personal project, that Wiseau is through his script, direction and acting putting raw emotion on display. In a way, it's like much of R. Kelly's musical output, or a high-school poet's private notebook: something so wholly idiosyncratic and of one mind that it's impossible to judge against other like efforts. And if nothing else, it's an antidote to the professional-to-the-point-of-pabulum fare most of the major Hollywood studios toss off every summer.

Filmed in both digital and film formats at the same time and funded with $6 million Wiseau raised himself, The Room has spread far and wide, and makes its Athens big-screen debut this weekend. There aren't a lot of real-world grass-roots phenomena these days. It seems like it's all LOLcat this and Internet meme that. But The Room is one of 'em, the real deal. I first saw the film while housesitting for some friends this summer. They left no notes for me in the house, save one: a Post-It stuck to the front of a DVD I'd never heard of. It was The Room, and the note said, "You must watch this, but you must not watch this alone. Watch this with friends." That advice holds true for the rest of you. Flagpole caught up with Wiseau last month and found him to be a personable, enthusiastic, generous—and just as strange as you might imagine—supporter of his own film and of the following it's developed.

Read on HERE: see the movie, then come back and read this again. - CHRIS HASSIOTIS, FLAGPOLE MAGAZINE

I finally watched this last night with some friends and it definitely lived up to the hype. I’m not a big fan of ’so bad it’s good’ movies but THE ROOM is the real deal and we’re going to have to see it again since we missed about 2/3rds of the dialog we were laughing so hard. A lot of the unintended humour comes from lead actor Wiseau, the film’s auteur who cannot direct, produce or write but is undeniably an incredible screen presence. With his gaunt, pockmarked face, long permed hair dyed raven black, bodybuilders physique and penchant for baggy, flowing clothes he is a unique performer and by the end of the film the mere sight of Wiseau shuffling zombie-like around San Francisco, climbing off and on street cars had us shaking with laughter. He speaks in an impossible-to-place mitteleuropean accent and is given to bursting into laughter at highly inappropriate times.

Some people feel that celebrating poor or mediocre movies is a sign of a decadent culture and I’m sympathetic to this argument. Why waste time watching bad films when there are so many great ones out there? But THE ROOM is, I think different. It is hard to make something this authentically terrible and audiences are very sensitive to irony or intentional parody. The key to the unique awfulness of THE ROOM is that Tommy Wisaeu is a wounded soul who wanted to share his pain with the rest of the world and the film really is a cri de coer from a heartfelt yet hapless artist. Most of his spleen is vented at women, who Wiseau thinks are evil and crazy, but also bewitching. There are at least four sex scenes in THE ROOM, all of them excruciatingly long with terrible saxophone driven power-ballads playing over lingering, unfocused shots of candles, rose petals, lace curtains billowing in the wind..... dimpost.wordpress