Film Forensics

I am writing to express my astonishment at the panning of Barry Levinson’s “Toys,” which was a marvelous film (“Turn-Offs . . . ,” Film Clips, Jan. 10).

“Toys” managed to embrace in one imaginative and sophisticated movie such qualities as the surrealism and zaniness of “Brazil” or Monty Python, the biting anti-War Games satire of “Dr. Strangelove” and the lurid sets of “True Stories,” while also being a feel-good movie.

The story line was simple, not “thin” (Kenneth Turan, Dec. 18), and was easily sustained by the superb sets and some hilarious scenes and characters. Contrary to the opinion of Turan, its sentimentality was not laid on in the unsubtle dollops typical of most Hollywood movies, and its clear pacifist message was a welcome change from the usual diet of (violent) sex and violence.

I am also appalled at the sheep-like attitude of Hollywood and the critics, who have, on word of mouth alone, condemned the movie. No wonder so much that comes out of the “Creative City” is such homogenized tripe. “Toys” was the product of highly individual talents who do credit to Hollywood.



Los Angeles