Manny Lewis

Synopsis: Manny Lewis (Carl Barron) is a popular and successful Australian comedian. Though he can make thousands laugh, he is insecure, lonely and depressed. When he rings a phone sex chat line he encounters Caroline, to whom he feels he can talk. When subsequently he meets Maria (Leeanna Walsmann) he is unaware that the women are one and the same, although Maria knows the truth. As Maria and Manny get closer, he uses “Caroline” as a sounding board, giving Maria the rare insight of knowing what her new beau really thinks and feels about her.

Real-life comedian Carl Barron co-wrote this film with director Anthony Mir. How close to the truth of his life it is doesn’t really matter, but Barron uses “talk about what you know” as a mantra for his real life stand-up comedy and so does his character Manny in the film. Manny discusses in an observational and at times self-deprecatory way the foibles of life. It seems audiences love him, but Manny doesn’t love people. He shies away from public notice in the streets and is totally awkward with women at parties. Never having seen Barron as a comedian I don’t know if he’s just acting himself but he is skilled at conveying a range of emotions through facial expression. As a character Manny taps into many of our own neuroses and fears, articulating them through his comedy routines but also living them through his relationship issues.

The character of Maria/Caroline is a good foil for Manny and is nicely played by Walsmann. As Caroline she’s a sympathetic ear, and as Maria she is a fragile person, honest and open (though we never find out why she does the sex chat job) despite a tough upbringing. Veteran character actor Roy Billing is Manny’s father – perhaps almost too stereotypically Aussie, but it works. Award-winning Underbelly actor Damien Garvey is Jimmy, Manny’s caring manager, who props the comedian up through depression and the odd violent outbursts. All these characters have an authentically down-to-earth charm.

Production values are classy, and the opening shot is “Birdman-esque” as the camera, in a long smooth take, follows Manny down the corridors of the venue where he is about to perform. Shot in Sydney, the city, immediately identified by the Opera House and Sydney Harbour, looks good both day and night on screen, whilst references to indigenous icons such as Iced Vovos and Tim-Tams, elaborate the vernacular style as does the smart use of music, much of it local.

Even though the main character is a comedian, Manny Lewis is not a comedy of the ha-ha variety but is rather a humorous portrayal of our ingrained desire for intimate connection.  As such it largely works although towards the end of the film some hand-me-down plotting spoils the moments of freshness and insight.

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