‘Million Dollar Hotel’ – Weird, Misunderstood and Unforgettable

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In a stunning opening sequence, Wim Wenders’ “The Million Dollar Hotel” (2000) gets underway.

As we make our approach, it’s more like we gently drift over the sparkling cityscape of Los Angeles. The camera sweeps to capture the colossal sign of The Million Dollar Hotel.

Up on the rooftop, right beside the noticeable sign, you’ll find Tom Tom, portrayed by Jeremy Davies. In an unexpected move, Tom Tom suddenly dashes off at full speed, pauses to wave towards someone not in view, and subsequently leaps from the edge. The significance of this action won’t be fully understood until the final moments.

The narrative jumps to an earlier time in the year, finding Tom Tom among numerous enigmatic, melancholic, and disoriented hotel residents. It’s worth noting that this scene was actually shot within the Rosslyn Million Dollar Hotel in L.A., the very same location where U2 filmed their music video for “Where the Streets Have No Name.

It’s revealed that tenant Izzy Goldkiss, portrayed by Tim Roth without prior billing, has recently been killed. This event seems to be the reason for the sudden arrival of Special Agent J.D. Skinner from the FBI, played by Mel Gibson. More precisely, Gibson gives a performance where his character appears slightly unhinged and tormented, wearing a large neck brace.

Tom Tom alone seems to hold the mystery surrounding Izzy’s demise and he remains tight-lipped about it. With a youthful enthusiasm, Tom Tom is deeply engrossed in his affection for Eloise, portrayed by Milla Jovovich, a captivating character who herself appears to be adrift in life.

Check out this fascinating curiosity – a unique blend of genres masterfully directed by Wenders, co-written by none other than Bono from U2. In the prime of his stardom (following “What Women Want”), Gibson stars in this production, backed by an exceptional cast and a captivating soundtrack, contributed by Bono and Brian Eno, among others.

So why haven’t you heard of it?

Wenders’ film created quite a stir at the 2000 Berlin Film Festival. However, what ensued was a puzzled reaction, unfavorable critiques, and even an unflattering remark from Gibson, who later clarified that he was joking and didn’t realize his comments were on record when he described it as “as dull as watching a dog sleep.

Domestically, “The Million Dollar Hotel” experienced a swift demise, playing for merely a few days. However, it managed to draw an audience abroad.

Could the unusual suspect behind the film’s early release under witness protection and mixed reviews from critics be its peculiar, eccentric nature? Indeed, the movie can be described as downright quirky with an unconventional flair.

Throughout the years, people have shared their dislike for the movie with me. I can understand why, since it tends to wander aimlessly and become frustrating more times than not, particularly during its initial scenes, where it sparkles least.

In the movie, the main characters who reside in the hotel are portrayed by Gloria Stuart, Jimmy Smits, Bud Cort, Peter Stormare, and Amanda Plummer. The narrative often slows down significantly when they are in focus. Scenes where they gather around a red pool table and chat endlessly seem like poorly executed improvisation.

A significant issue almost causing the movie to falter was the questionable casting choice of Davies, an accomplished actor who, however, may not have been perfectly suited for portraying the character of Tom Tom.

In my view, Davies’ subtle and hushed narration necessitates subtitles to fully comprehend the dialogue. Remarkably, the movie manages to compensate for the scarcity of a clear lead character. Instead, it’s Gibson’s captivating, gradual build-up and Jovovich’s exceptional portrayal that hold this film together.

It’s important to note that while Davies is capable of delivering exceptional performances (as evidenced by his work in films like “Saving Private Ryan,” “The Black Phone,” “Solaris,” and “Rescue Dawn”), the performance in this film, despite capturing the movie’s lively tone, seems to be somewhat limited in range.

Regardless, the scenes between Davies and Jovovich are captivating due to their portrayal of innocence and inexperience in their characters.

Or: Despite some reservations, the scenes between Davies and Jovovich are striking for their convincing depiction of youthful innocence and naivety in their roles.

Both versions convey the same meaning but with slight differences in style and word choice.

Wenders’ movie exhibits a playful yet raw quality, offering an intriguing blend of styles. It seamlessly transitions between different genres, creating a unique fusion: part film noir, part love story, part murder mystery, and part avant-garde drama. This production seems to hail from the 1970s in its style.

The sequential structure of this work is beneficial because it alternates between less effective and impactful scenes with those that pack a powerful punch. While there’s consistently an impressive scene on the horizon, viewers must exercise patience to endure the parts that may seem excessive.

“The Million Dollar Hotel” tests your patience but, in the end, rewards it.

Similar to Richard Kelly’s “Southland Tales,” the movie initially has a hit-and-miss start, but by the third act, all the pieces fall into place. Notably, both films end with a grand celebration and a surprising, game-altering revelation.

In a similar vein to Edward Hopper’s paintings, the most captivating scenes resemble those found in Wenders’ “The End of Violence” (1997). This film shares the raw, emotional depth of Wenders’ “Paris, Texas” (1984), yet contrasts with his 1991 opus, “Until the End of the World,” which was later extended to a 5-hour director’s cut, restoring a damaged initial release. However, “The Million Dollar Hotel” could benefit from trimming approximately 15 minutes, making it a more impactful piece overall.

RELATED: HOW WIM WENDERS CAPTURED POPE FRANCIS ON FILM

After 100 minutes, it could potentially seem among Wenders’ finest works, rather than a two-hour spectacle overflowing with numerous characters, yet still brimming with breathtaking visuals and heartfelt scenes.

It seems like the concept of turning the hotel into a miniature representation of America might have been overly ambitious, if that’s indeed the intention. Compared to Wender’s more acclaimed productions, this piece might be overloaded with cinematic elements, which could potentially make it less impactful.

Wenders, much like Terrence Malick, is among the rare directors whose movies inspire me to step outside for sunsets or gaze at the starry night. Their films are like exploratory journeys, offering both literal and metaphorical cinematic excursions into the unexplored, where characters appear more akin to poetic or musical figures rather than real-life individuals.

In my perspective, his cinematic works radiate an earnest enthusiasm for life, a ceaseless curiosity about human nature, and a sense of wonder that is truly captivating. There are scenes in “The Million Dollar Hotel” that I could do without, but let me say this: the electrifying opening scene and the potent finale make those minor flaws more than forgivable.

For adventurous filmgoers, Wenders offbeat love story is overdue for rediscovery.

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2025-02-08 19:04