User reviews

This is an incredible film. Please let every one know, especially if you're in the industry, what an incredible performer Christopher Plummer is. He provides an Oscar quality performance. M. Emmet Walsh is also outstanding.

Americans in general, and Hollywood in specific have been reluctant to vocalize the challenges of aging in our society. It was wonderful to see this issue handled in such a positive fashion. The supporting cast more than compliments this picture and demonstrates the existing talent in Hollywood's elderly community.

Highly recommended.

Saw this film at the Stony Brook Film Festival where my short film preceded it to an audience of about 1000 people! No surprise that it won Audience Favorite for feature films there...the whole theater gave filmmaker Michael Schroeder and actors Christoper Plummer and M. Emmett Walsh a standing ovation! A wonderful film of a crotchety old gaffer living with other retired film people in an LA nursing home for industry people, who comes alive when a young film student enlists him for film-making advice, and then actually making something.

I can easily see Christopher Plummer get Oscar and other nominations later this year...and I also hope that M. Emmett Walsh gets noticed for Best Supporting. He lights up the screen when his love for writing in the film gives him a new purpose later in his life.

I'd heard some good things about this film but not from trusted sources and having seen it i can't agree. Man in the Chair is a very average film. It is not terrible compelling to watch and is very obvious in its plotting. The dialogue is also often laughably bad and the awful caricature performance it features representing Orson Welles is insulting both to Mr Welles and to the viewer's intelligence.

It sets the tone for narrative drag immediately with an extended clip (first heard off screen and then shown) clip from Howard Hawks' superb comedy His Girl Friday, which serves no real purpose in the story other than to establish 'Flash' Madden goes to see old movies! Great insight! A piece of info that is perfectly well introduced with a later seen at the same theatre showing Touch Of Evil which serves a narrative purpose both in its introduction of the two lead characters to each other; their similar tastes; and the link to Welles whom 'Flash' has worked with on Citizen Kane. The use of His Girl Friday however is entirely unnecessary and too lengthy; and as with most of the other films it references, only highlights the fact that the writer can recognise a variety of well-written great films - making it the more perplexing that he has no ear for how staged and hammy his dialogue is.

Plummer is solid as 'Flash' but loses his way here and there in stereotype and overplaying - a fault of the script not his, but an actor of his skill should have been able to instruct the director/writer better on how to play it. Given how extraordinary Plummer can be - just watch his Mike Wallace in The Insider - i expected better. Michael Angarano is fine but is again saddled with a poorly written role that makes him a rebel that he never seems and then connects him to 'Flash' in the most tenuous way.

M Emmet Walsh however is marvellous in a supporting role and while i'm sure the average standard of the film and the grandstanding of Plummer in the lead will cause him to be overlooked it would be wonderful and justified if this great character actor saw a supporting actor nod at the Oscars.

Overall the film is inoffensive and has a noble heart and message but the script is lacking in substance and drive. A Sunday afternoon on the TV type of watch.

I am a judge for the Indianapolis-based Heartland Film Festival. This feature film is a Crystal Heart Award Winner and is eligible to be the Grand Prize Winner in October of 2007. The Heartland Film Festival is a non-profit organization that honors Truly Moving Pictures. A Truly Moving Picture "…explores the human journey by artistically expressing hope and respect for the positive values of life."

This is a story of two unusual and non-conformist people. The first is a curmudgeon or surly old man, played by Christopher Plummer, and the second is a troubled high school junior. What they have in common is that they live in the same neighborhood in L.A. and they love movies, especially old classics.

The old man used to be a gaffer or electrician and made many movies at Hollywood studios, but now he is alone in the Motion Picture Residence of the Elderly. He is scruffy, a drunk, cynical, sarcastic and loudly and proudly acts badly. After he gets into an argument with patrons at a movie theater proclaiming, "I made more movies than you've been to", the junior follows him to his old age home.

The junior wants to submit a short film to a contest that hopefully can get him a college scholarship. So he begins his quest to get help from the old man. The junior has serious adjustment problems. He challenges a high school gang leader and continually gets in trouble with the law for fighting and stealing. At home, he has a terrible relationship with his stepfather.

However, there is a goodness and decency in these two people and they slowly and painfully bring out the best in each other. For them, the journey is more important than a successful outcome. They simply both need a purpose to their lives.

The acting is remarkable and not just from Christopher Plummer, who dominates the movie. M. Emmet Walsh and Robert Wagner are particularly convincing. There are unusual, funky visuals and a hip sound track throughout the movie. They really work to hold your attention because they are such a contrast to the many elderly characters. This is a very different and very good movie.

FYI – There is a Truly Moving Pictures web site where there is a listing of past Truly Moving Picture Award winners that are now either at the theater or available on video.

I attended the World Premiere of "Man in the Chair" at the Santa Barbara International Film Festival. Good films should be bold and provocative. Yet no director creates a genre out of whole cloth. There's a basic dichotomy there and it's the challenge of the filmmaker to put a new spin on an old theme. "Man in the Chair" is, on the face of it, an intergenerational coming-of-age drama. You know the drill -- young buck meets old codger, ice meets flame, and water flows happily ever after. Some commonality brings each halfway towards the other and there are likely a few laughs as well as tears along the way. But something takes place here that is unexpected. Questions are raised which have not been addressed in contemporary cinema. This is a movie with a message, and in a politically correct world where feature filmmakers feel that it's not their place to rock the boat, "Man in the Chair" dares to tackle major social issues in a surprisingly entertaining fashion.

The young buck in this case is Cameron Kincaid (Michael Angarano), a high school kid with a passion for classic movies. The old codger is Glenn "Flash" Madden (Christopher Plummer), the last living crew member of "Citizen Kane." Cameron is a good kid. He just happens to do bad things. Flash is surly to bed and surly to rise, which makes him, well, surly. The two meet in a darkened theater while both while away the hours to pre-Technicolor gems of days gone by, one lamenting his past and the other dreaming of his future. But the kid has a sense of purpose -- an opportunity to win a scholarship to film school by shooting a 10 minute short. And thus begins the dance. Will the two forge a working relationship? Will it become something else? And what will be the subject of the student film, and what wonders will be discovered along the way? Those are just a few of the questions to be answered. Perhaps more important, though, are the questions raised by "Man in the Chair" -- are there people who don't matter? If there are wrongs to be made right, can anyone do it? Should we? That's a tall order for a filmmaker and writer/director Michael Schroeder accepts the challenge.

The legendary Christopher Plummer shows how he got to be so. His portrayal of the aging old gaffer, whose only joys in life are Cuban cigars and Wild Turkey, is daring and heartbreaking. How the Motion Picture Academy could have overlooked him all these years is a mystery, but that could change in a "Flash," and should. It's hard to imagine how an actor as young as Michael Angarano could hold the screen with him from start to finish and have it all look so real. The fact that he does so with such ease is testament to the fact he is arguably the most sought after teenage actor in America.

The Motion Picture Retirement Home is the setting for a good portion of the film (the first time a camera crew has ever been allowed to film there), where an ensemble of other Hollywood veterans put their hearts and souls into this, and it shows. M. Emmett Walsh is a standout in this and almost steals the film. I was stunned when he first appeared on screen. What he did was about the bravest thing any actor can do, particularly at his age, and his performance is breathtaking. In fact, as Schroeder explained in the Q&A, other actors turned it down because it would have broken their hearts to do the role.

"Man in the Chair" has the look and feel of a cutting edge indie, with a surprisingly rockin' soundtrack that left me wanting more and dazzling visuals. Cinematographer Dana Gonzales used quadruple exposure and hand crank camera to create a look that says "special effects" but is actually all "in-camera." What you see is what was captured on film and not created digitally in a studio. To do otherwise wouldn't be true to the very subject matter, and these techniques are a tip of the hat to the first filmmakers who had nothing but their cameras and lenses to create what we see on screen. There were more than a few "whoa" moments in the theater. I sat in wonder at the creativity of this team.

It's hard to imagine anyone of any age not being able to relate to this film and be moved by it. "Man in the Chair" is so groundbreaking that it has the potential to be a modern-day "Grapes of Wrath." The storyline exposes the ills of society without being preachy or heavy-handed. It tugs at the emotions like few films I've seen in recent memory. If you're not surly to bed and surly to rise you'll surely walk out with a tear in your eye. And even if you are, maybe, just maybe, you'll have a change of heart.

Michael Schroeder's new movie should have taken him out of B-movie obscurity. The director of the two "Cyborg" sequels has finally grasped some serious material, but unfortunately he hasn't let go of the cheese from his previous films.

The story trails lonesome, alienated Michael- a movie buff who wants to win a film scholarship, which is available through a student video competition. His torrid home life and nonexistent social life start to weigh down his dream of becoming a filmmaker. By chance, he meets a cranky old man named Flash (played very well by Christopher Plummer) who has connections to Orson Welles and the golden age of cinema.

"The Man in the Chair" begins with a montage featuring some Tony Scott-type mock handcrank shots. It's a questionably flashy beginning, but it creates a serious tone that allows you to take it seriously. This tone is betrayed immediately when Michael is introduced. He is bullied in an unrealistic, Nickelodeon-worthy fashion. What is particularly jarring is when he jumps on top of the bully's car with his bicycle (!?). Immediately, the movie turns into an artificial and inept after school special.

As a result, much is wasted. The cinematography by experienced Hollywood camera operator Dana Gonzales is absolutely beautiful, but the handcrank shots (added as reference to classic cinema) become distracting and irritating. However, there is crisp lighting and some impressively done sequences. Great performances by Plummer, Mitch Pileggi and M. Emmet Walsh are marred by the campiness of the screenplay. This is an unfortunate movie that didn't deserve any of the talent it attracted.

The real problem with "Man in the Chair" is its utter lack of credibility. This is an optimistic story that is full of good cheer, but it tries to get by on its likability alone. Truly important details, like believability and honesty are half-attempted. The development of Michael consists of platitudinous and insincere movie references. Michael is a cardboard "cinephile" with no depth, just a poorly developed passion. One character gets into trouble with the law, but this is shown with very little long-run consequence. The movie tries to avoid clichés that would be seen as "too Hollywood" to the point that it feels like a self-conscious Hollywood movie. The lack of honesty is not only appalling, it is embarrassing.

The clichés don't stop. The generation-gap jokes between Flash and Michael are tired and mostly unfunny. Also, there is far too much similarity to "Finding Forrester" to acknowledge this movie as even marginally original. There are countless plot conveniences filled with poorly thought out logic. Schroeder skims on plot details, making the movie lose respectability with every scene.

This is a feel good movie that seems to be aimed at idiots. Schroeder's film may have been passable as a mid-90's Disney movie, (minus some useless foul language inserted for a "hard edge") but he doesn't realize that American audiences have moved on from absolute characters and feel-good clichés. Unfortunately, Schroeder hasn't left his B-movie tendencies behind. Maybe he should stick to the straight to video shelf.

Hello, I saw your movie a few weeks ago at the Kent Film Festival in Kent, CT, and I can't stop raving about it. No kidding, it is up there as probably one of the best films I have ever seen. I am wondering why it has not become a major box office hit, and why it is not "out there" in circulation. I believe in the power of film to change the world, and the message in this film for young and the aging alike was powerful. Please tell me how I can go about getting a copy of this so I can share with with others. Bravo!! I am guessing that Christopher Plummer will be nominated for an academy award. He certainly deserves it. I cannot wait to see this film at the box office. Susan Hackel

Despite a compelling theme, some truly sparkling dialogue, and terrific performances by misters Plummer, Wagner, and Walsh, this film comes across rather uneven. The direction is heavy-handed, at times bordering on trite, the production design doesn't contribute much, and the photography is pretentious and annoying -- more appropriate to a music video, than a heartfelt drama. An older, more experienced DP could've made this infinitely more watchable! The script has a lot of potential, but could have, definitely, used another re-write (or two) and a bit of patching of some truly gaping holes, before going into production. The editing is, likewise, uninspired -- most of the shots linger a couple of beats too long, making the overall pace just tedious enough to lose tension.

A few weeks ago a friend mine called me and told that I had to watch a film called Man in the Chair on the Sundance Channel. He said that Christopher Plummer was in it, and that was good enough for me.

I had no idea that I was about to experience a film of absolute beauty. The writing, directing, acting, etc are beyond praise.

Plummer expertly plays a film gaffer who has not worked since 1968 and becomes involved with a young man attempting to make a student film to enter a competition for a film school scholarship. What ensues is a film about true friendship, elder abuse, animal neglect, and the raising of the human spirit.

All of the actors are superb, but special mention must be made of M. Emmet Walsh's performance of a writer who has not worked in decades. Perfection.

Actually, perfection sums up this film.

Thanks to all involved, especially writer/director Michael Schroeder, for this gift of a film.

As a member of the cast as well as an Academy member, I just loved the theme of "Man in the Chair." It develops a bond between a lost teenager and an alcoholic septuagenarian, magnificently connecting them to the making of a socially relevant student film while surrounding them with a bevy of older, former filmmakers in the screen actors' home in Woodland Hills. The writer/director, Michael Schroeder twists and turns this very human story that is kept lovingly together by a staggering performance by the amazing Christopher Plummer. As I left the Academy screening, several of my friends stopped me in the hall to say, "He's got my vote," and of course he has mine. I don't think there was a dry eye in the house.Finally,both young Michael Angarano,and the daring Emmet Walsh create a flawless sense of reality that help the film to be deeply touching.

Just got a chance to see this at the Heartland Film Festival. This is a wonderful film. You can read the synopsis for more detailed account of the movie, but for me, it's a reminder to live life together. Plummer's character is a gruff old gaffer that hasn't had many friends and lives in his former glory. But now near the end of his life, he meets a kid that wants to learn about how to shoot a film. At first, he's resistant, but eventually warms up to the idea and then enlists the help of many other former craftsmen in the field. It's a touching story. Plummer is awesome in the film. There are some effects that get a little jarring after a while, but don't detract from the film overall. It feels a bit like Finding Forrester at times, but hey, all the great story's have been done, and this is an awesome variation on that theme. A definite must see...especially film buffs.

Man in The Chair is a 10 out of 10. Christopher Plummer delivers a leading Oscar worthy performance - filled with soul, depth and abundant range. A film that deals as much about respecting elders as it does about respecting the making of films and never forgetting those who help you at the start. Subjects that are often overlooked and "thrown away" or simply not interesting to younger audiences. This is a beautiful 9 year journey of a film. Michael Schroeder wrote and directed this gem from the heart, infusing uncovered social issues with intricate feelings of mentorship. This is simply put, the best film I have seen this year! The cast and crew deliver and the cinematography is uniquely soulful. And a (supporting) Oscar worthy performance by M. Emmet Walsh. WOW!

With its Hollywood setting, this film focuses on the disposal culture we live in as it applies to people – in this instance, those in Hollywood who no longer fit the "young and beautiful" mould or don't serve a purpose any more. We see this through the relationship between a troubled student (Cameron) seeking to make a short film and a bitter old man (Flash) who he meets in the cinema who was once a lighting man for one of the main studios. As the film progresses, Cameron learns about abuses in retirement homes and comes to appreciate the value of those that society puts to one side while they wait to quietly die.

This film was suggested to me by another IMDb user and, while I have seen bad and good films off such suggestions, I will nearly always end up watching something I wouldn't have otherwise done – which in itself is a good thing I think. Man in the Chair interested me from the start thanks to the link to classic films, the main character being a film fan and of course the cast names in the credits. The plot offers potential to be something genuinely touching and smart and there is no denying that the subject matter is particularly worth your attention. I presume this must have also been a rather personal project for writer/director Schroeder given that his resume features performing these same functions on several films in the Cyborg "franchise" – a series of films very different from the one I was watching from him today! So all of this offered me hope that the film could be smart, pointed and moving. Such a shame then to see that the writing and directing are the weakest parts of this film because it is here (the material particularly) where the film is allowed to slip into sentimentality and cliché in a way that really prevents the potential and the real emotional connection come through to the viewer. The warning signs are there early on because there are things in the script that just don't work and one sort of accepts them in order to get past them and into the rest of the film. Cameron's character is odd and his "troubled" nature is a bit excess for the person we see in all other scenes. The way he gets into a relationship with Flash (and the way that develops) also doesn't really work. These little warning signs are shown for what they are as the film progresses and where one hopes for originality and insight, what we get is mostly easy sentiment, easy characters, easy scenarios and obvious plot development.

It is a real shame because even with these the film still just about works – albeit at a level below what it could have been. Part of this is that the film is still a warming and slightly touching experience – it is loaded with weakness perhaps but it comes with a truth and a "makes you think" quality that will still strike a chord with many viewers – perhaps helping the film to some degree. A much better part of the film working is that Plummer is really good and he works very well in the scenes he shares with Angarano; again, with these two and a very starry cast of older names playing their roles well, the potential just continues to sit there. Certainly a lot of the charm that the film does have comes from the cast. In terms of direction it feels like Schroeder has left them to it to a point and they could have done with more. Schroeder may also be responsible for the terribly unnecessary blurry/edit effects that are frequently used – they seem gimmicky, add nothing and ultimately started to grate on me with their sheer unwarranted presence.

Man in the Chair is a solid little film if you can accept the abundance of cliché and heavy sentiment and ignore the potential that the cast and subject matter gave it. It has a slight warmth to it and it is a worthy film but Schroeder just can't make it what it should be – if there is a cliché trap he falls into it; if there is emotion he finds sentiment. The cast and the idea carry it and make it reasonably engaging, but I'll be honest and say that the near-misses and problems with it really limited my enjoyment of it.

I won't criticize this movie, since others had done it superbly. It's just a couple of issues I'm interested in. First one: I find praiseworthy to make a movie with very old people. The world population in general is getting older, and even so, we continue to avoid the issue. We are terrified by old age. But if we continue to live, we'll get there, whether we like it or not. So, better start to face reality, the sooner, the better. This issue is so very well presented with the character of the gaffer (Christopher Plummer) and the script writer, that it gives you the creeps. Their loneliness (old folks become invisible to society), their aimlessness in life (they lost their jobs to retirement without finding a healthy replacement for it), and all of a sudden, by chance, this young boy comes across their sunken lives (elderly homes) and gets them to help him to make a 10 minutes movie. All of a sudden, people that were almost growing moss out of their ears, become alive, they have a motif to live for now!! the whole bunch of elderly people starts making projects, and with their lifelong experience in their profession, they put together a remarkable film (the producer --Robert Wagner-- is very impressed with the final result). Now, the painful question: The 10 minutes film is done, are these old folks going back to their miserable living at the elderly home? wouldn't it have been better for them that the young man never came their way? after all, they were resigned to that life. But now what? This question makes me think that EUTANASIA should be legalized so when we decide that enough is enough, we can take our own life, at the precise moment we think it's better.

I fell in love with film again last night when I saw this film. Reborn faith in humanity and that a ending can be all things like in life, sad, happy, anticlimactic; probing one to start their own personal inventory of what life is really about. This done so effortlessly all wrapped up in one film with out feeling preachy or like an old cliché. A must for any future film maker and anyone still making film. The back story was also nicely done with just a few scenes of trouble youth and a old mans call to say hello to his estranged daughter only to be put on ice as she tells him she will have to call him back later(we know will never come.) How easy it is to discard people, things, animals(dogs)when they are not right in front of you. They lose their importance and we forget their worth which might be as simple as sharing a cigar(Cuban of course) or a bone. Great use of Los Angeles and reminds us why it is the City of Angels. Oscars watch out! Original Screenplay, editing and performance from Christopher Plummer.

I saw this film at the Stony Brook Film Festival. The crowd was over 1000 strong and the standing ovation was even stronger. Christopher Plummer, Michael Angarano and M. Emmet Walsh are fantastic. If you don't love this movie, then you don't love movies. Christopher Plummer, M. Emmet Walsh, Michael Schroeder, producer Sarah Schroeder and editor, Terry Cafaro took part in the Q & A that followed. They had the crowd eating out of their hands. Plummer, always so debonair (unlike his Flash character) and Walsh kept the crowd laughing. The film left me filled with imagery, poetry and hope. Michael Schroeder said he didn't make a film reform nursing home neglect, he just wanted folks to leave the theater and call their grandparents to remind them that the mattered in their lives. With such touching performances how can you resist. Kudos to Writer/Director, Michael Schroeder and his talented film team; they really knocked this one out of the park. You'll hear more about MAN IN THE CHAIR at Oscar time and deservedly so.

I just got back from the Stony Brook Film Festival , in which "Man in the Chair" , made it's New York premiere .

Excellent Oscar worthy performances turned in by Christopher Plummer [ Best Actor ] in the role of Flash , a former gaffer for Orson Welles and M. Emmet Walsh [ Best Supporting Actor ] in the role of Mickey , a forgotten , award winning screen writer . Both roles revolved around the young high school movie enthusiast and budding filmmaker, Cameron Kincaid [ played by Michael Angarano ] .

The evolving plot(s) not only take you into his world of a teen-aged student and "peer-pressured" lower class adolescent , but weave into our current societal "maladies" of throwaway , and discard-able "living remnants" all around us . The "remnants" to include the elderly (their abuse and sad state of being forgotten and being "discounted" among family , and society - at - large ), dogs ( and pets ) in general , that are abandoned by humans ( and their fate amongst the heap of "the remnant pile" ) , and "old Hollywood" memories , personal pictures , cameras , equipment , "secret gathering places" with loads of history and nostalgia ( lost to modern methods , means , and maniacal quests for mega-money ) .

You leave the theater with these topics in mind , forever floating as the "tapestry" of them has been woven right before you . As with the elderly , for anyone who has seen Micheal Moore's "Sicko" , this movie ties nicely into the bigger aspect on not only health care , but the elderly's forgotten "value" and skills and attributes , that one day shone brightly in the world , and may be tapped into again , if only asked . Most importantly , we ALL will be elderly , ... someday !

Pets were linked to the throwaway theme , and screams loudly at other "items" that we once care for and may care and love us , unconditionally back .

Sadly , noting the many , many "little people" that so profoundly produced the celluloid epics we have loved on the silver screen for generations . That they "may" have been listed in the flashing credits at the end of every movie , but yet played an everlasting part to bring us memorable film magic . Their stories, their memories , their memorabilia , mostly discarded and forgotten . Yet , just as integral a role as the finest Actor and best Director on a memorable film . As Flash put it in the film , " we "others" who didn't socialize with the "uppers" , but took just as much pride in the wrap ! " .

I leave it to you and your experiencing the film ,to encounter who THAT man in the chair IS , and what responsibilities , sacrifices , and amounts of time and love are required , to be , there . As a society , we are : the rising younger generation , and please ponder , with this film , their ties ( our ties )to the declining , enriched generations , we will someday become .

Good luck to Micheal Schroeder and his ensemble in an award worthy winning film .

I found it tedious. It just wasn't very compelling or engaging.

If I am watching a movie and I feel an urge to whip out my phone and see what the weather is like, that is not a good film!

This despite packing a pretty great roster of character actors and of course Christopher Plummer.

A large part of this is the story. Which is basically an after school special about misunderstood kids and older people or something. Great ad for libraries I guess. It's also just so flat. There are a few points of conflict, like the bullies early on. But that thread is kind of lost. Then there are other story elements that jump in and out haphazardly. It's just kind of hard to see what story they are trying to tell and why some unrelated parts are in there?

It's not terrible, to be honest. I could live with it except for the random shaky camerawork.

It's like you are watching an Episode of the Rockford Files and they just gotta go across town to talk to Fuzzy Bear but oh no shaky camera attack, trip out.

I also attended the World Premiere of "Man in the Chair" at the Santa Barbara International Film Festival.

Authentic and revealing. A rare glimpse at the once upon a time glamour; when the curtains come down. Michael Angarano is once again the ringmaster that leads you through the story; through the darkness and heartrending topics that the film explores, Michael's showmanship and charisma is like a lighthouse beacon; keeping you grounded with his dramatic performance.

With Depth: from the shallow end to the deep end. There are several dyads created quickly. But the performances were powerful. And the bond between Christopher and Michael compel a realistic richness that is uncanny and common. As I compare this bond to the quick relationships I've seen created between college students and eccentric college professors on the first day of class, who become the teacher's favorite. I just wonder if Michael worked and researched this concept just like Catherine Hardwicke said Michael worked hard to prepare for his role in "Lords of Dogtown", or if it just came natural.

I felt the film was definitely worth seeing, powerful performances add to this rarely talked about subject.

I would like to tell everyone out there, the director and everyone that words on this film did a superb job! I have waited over almost 1 year to see this film, and I was able to view a consideration version... I can't wait until it is available as a full version to purchase in stores. Christopher Plummer was superb in this part. I just cant get over how well put together this was... If only all films were this good. It was fantastic! Quodos to all involved... one of the best films I have seen in a long time... This movie is going on my top 3 list of films I have seen in my lifetime. Great story, great actors, I cant say anymore! 10 Oscars for you! Cheers!