PARK CITY — So is this what they mean by a "safe" festival? Perhaps more than in previous years, the 2000 Sundance Film Festival was dogged by early criticisms that its schedule was perhaps a bit soft, that the films selected were derivative and not nearly as daring as those at previous Sundances.
Of course, that was proven false rather quickly when one of the festival's premiere films, director Mary Harron's adaptation of the controversial novel "American Psycho," received an NC-17 rating — though that rating turned out to be for a risque sex scene instead of the film's graphic violence. (Despite the fact that one audience member suffered a seizure during the movie's Friday night premiere in Park City — he recovered fairly quickly — the dark comic "American Psycho" proved not to be worth all the fuss.)
Festival watchers also spent much of their time waiting to see which film might emerge as this year's "Blair Witch Project," the ultra-low-budget horror film that took Sundance by storm last year and which raked in as much — or more — money than scares by the time all was said and done.
The real hit of the festival has turned out to be "The Eyes of Tammy Faye," a tongue-in-cheek documentary about former televangelist Tammy Faye Bakker Messner — both the film and Messner took Park City by storm.
Everywhere you turned, there she was, either wearing some gaudy new ensemble or passing out plastic bags loaded with makeup and other trinkets to promote the film or paling around with her much-taller, cross-dressing pal RuPaul — they became the Sundance "Odd Couple" of the moment.
Her cosmetic presence even overshadowed Park City appearances by such bona-fide celebrities as Jodie Foster, Ben Affleck (who hobbled in on crutches after reportedly spraining his ankle playing basketball) and Sundance guru Robert Redford, who breezed into town for the weekend.
And while some of them — Foster, in particular — were quite accommodating to autograph-seekers and stargazers, they also seemed grateful that someone else was hogging the spotlight.
Aside from "The Eyes of Tammy Faye," no real "must-sees" have emerged from the festival so far, though there were several "hot-ticket" screenings that were hard to get into, including "American Psycho"; Michael Almereyda's revisionist version of "Hamlet"; "Happy Accidents," a romantic comedy starring Marisa Tomei; and "The Tao of Steve," a comedy about a philosophical lothario.
Needless to say, it hasn't been too surprising to see what has become the annual independent film buyer's market slow down considerably this year. In fact, the real wheeling-and-dealing only started heating up about midway through the festival.
The first "new" film to be purchased for release was "Chuck & Buck," director Miguel Arteta's comedy-drama about two former best friends headed in opposite directions on the success scale. Artisan Entertainment bought the U.S. distribution rights for $1 million.
That deal was followed quickly by one for "Groove," a behind-the-scenes drama about the underground rave culture, which Sony Pictures Classics snatched up for $1.5 million.
But those were the exceptions, not the rule, as the majority of festival films were still awaiting buyers — including "What's Cooking?" the multicultural comedy that was the festival's opening-night event. (Although "What's Cooking?" features stars like Julianna Margulies, Joan Chen and Alfre Woodard, it received lukewarm reactions from distributors but is still expected to be picked up by the festival's end.)
With less concentration on the business side of things, the focus has shifted by to the movies themselves, which is fine with filmmakers and stars.
Woodard said she has been thrilled by the low-key, less-competitive atmosphere at this year's Sundance event. "It's great. It seems to be all about people seeing your movie, and seeing if they like it.
"It's time to cut loose and just party. You know, having a good time?"