By Nate Byerley
Arizona Daily Wildcat
April 23, 1998

'Slaves of Hollywood' explores the dark side of Tinseltown

The Arizona International Film Festival serves to showcase films that you would not otherwise find gracing our money-grubbing, Hollywood-dominated theaters. Why then, you may ask, is "Slaves of Hollywood" included in this indie film fest? Perhaps because this film, by filmmakers Michael Wechsler and Terry Keefe, is a blatant attack on the cutthroat industry that brings entertainment to the masses.

Why then, you may also ask, are these two directors, who once worked as assistants at Orion Pictures, taking on the industry that would offer them any chance for success? Simple: revenge.

Wechsler's personal experience with the film industry can be succinctly described as abusive - via a psychotic boss who threatened, after a litany of insults and shirking, to blackball Wechsler from the film industry. Likewise, Keefe became a sort of 3 a.m. therapist to his boss, who later promised career destruction when told that Keefe was quitting. Actually, it sounds like any number of horror stories I've heard from those who have worked a minimum wage job. But hey, this is supposed to be the place where dreams become reality. This is Hollywood.

Knowing the backgrounds of both directors, there should be no surprise as to the overriding theme in "Slaves of Hollywood." Paulette Gittleman, played by Katherine Morgan, is filming a documentary about five film-industry peons, in an attempt to, according to Paulette, "understand how Hollywood changes people." Paulette's motivations are driven by a desire to connect with her distant father who was one of the biggest and baddest studio bosses in Hollywood.

The story revolves around the five Hollywood lackeys, who each characterize a different and particularly despicable aspect of the industry. Surrounding them is a wide spectrum of characters: naÔve talent agents, social climbers, narcissistic Warhol-like parasites, and struggling actors in this self-professed "behind-the-scenes" look at what masquerades under the facade of glamour and glitz.

There's even a character who, as a movie assistant, attempts to sabotage the career of his former boss. Sounds like the directors have no qualms about making their intentions quite apparent.

"Slaves of Hollywood" attempts a position of self-consciousness by documenting the filming of a fictional documentary. One can only hope that it does not fall into the fairly predictable trap of mocking itself, through sub-standard acting or overblown cinematography, as it tries to "de-glamorize" the industry that defines the film media.

Hill Harper, who plays the narcissistic Warhol-like parasite's object of affection, has appeared in Spike Lee's "Get on the Bus" and the soon-to-be-released "He Got Game," as well as Toronto film festival hit, "Hav Plenty." If Harper is as good as he is touted to be, "Slaves of Hollywood" may just be a hit itself.

This sounds like the perfect movie to bring all of your "I'm gonna make it big in Hollywood someday" friends to. Think of it as a little friendly career planning advice. But beware, you may never again be able to read People magazine with the same wistful admiration. If you believe these two filmmakers, the land of dreams may be a lot closer to the golden arches than most of us think.

"Slaves of Hollywood" is showing tonight at 10 p.m. and tomorrow at 11 p.m. at The Screening Room, 127 E. Congress. If you don't have a film festival pass, single tickets are $5. Phone 622-2262 for more.