When it comes to offbeat leading men, Kevin Kline is the Man. But before today’s “The Extra Man,” it had been too long since we’d seen the versatile 62-year-old talent in his element on the big screen. The negligible, diverting indie comedy isn’t as gratifying as his spirited performance. But this time of August, as Hollywood tosses out the dregs after summer’s peak, beggars and popcorn eaters can’t be choosers.
So, see it to catch Kline (no relation) in a role perfectly suited to his style and age. After watching him here as a shabby chic “walker” for rich older ladies in Manhattan, head over to Netflix for a retrospective. He has headlined only two features in the last decade, both minor films. But go back a ways for “The Ice Storm” (1997), “Soapdish” (1991), “A Fish Called Wanda” (1988), “Cry Freedom” (1987) and, of course, his 1982 career masterpiece, “Sophie’s Choice.”
In “The Extra Man,” the actor who so effortlessly plays both farce and tragedy gets to show off his droll eccentricity again as this deluded dandy. Henry Harrison lives like a pauper. But the failed playwright fancies himself an all-knowing gentleman, content to scrape by and platonically squire lonely society women who need “an extra man” at their tables.
Things change, though, as he takes on a new roommate and protege. With a secret predilection for ladies clothes, the shy, sheltered former teacher Louis Ives (“There Will Be Blood’s” Paul Dano) needs guidance when he arrives in the big city and moves in with Henry. The two men of letters share a taste for the rituals and grace of yesteryear. But Louis can’t resist his urges, even after Henry introduces him into the world of dowager companionship.
Meanwhile, their bearlike neighbor Gershon, played by a nearly unrecognizable John C. Reilly, serves as an amusing add-on who pops up occasionally. Known more as Suri’s mother than as an actress these days, Katie Holmes gives a generic portrayal as Louis’ unrequited love object.
Robert Pulcini and Shari Springer Berman (“American Splendor,” “The Nanny Diaries”) direct the meandering but ultimately sweet piece based on the eponymous novel by Jonathan Ames. All three are credited with co-writing the screenplay.
But it will be remembered for Kline. Hollywood doesn’t just shun its women as they weather. It happens to the men, too — especially the ones who defy easy labeling as he does.
