The Caveman's Valentine

It's not really a cave. It's more like a rock shelter. But whatever we call it, it is home to Romulus Ledbetter (Samuel L. Jackson), a sensitive, and sometimes delusional, homeless man in Manhattan. One winter morning, he discovers a dead man outside his abode. But who is this person, and how did he end up outside of Romulus' cave? Or, could the dead man be just another one of Romulus' delusions? The rest of the film follows Romulus, in his quest to solve the mystery.

One of the film's strengths is Jackson's fine performance. With his long curly locks, his dark and grubby attire, his distinctive way of walking, and his stutter, Jackson gives depth to his character, and entreats empathy for a group of people who are too often stereotyped as worthless.

Another strength is the film's ability to contrast street life with high society. Romulus' quest carries him to society's elite. In one sequence, we see images of torture, while listening to opera. In another sequence, we see a homeless man playing classical piano to an audience of art lovers. The contrast is marvelous.

The film's downside is the contrived and hokey plot, with tons of improbable occurrences. Also, secondary roles seem hollow, and exist mainly to advance the plot.

"The Caveman's Valentine" is worth seeing once, for Jackson's sensitive and persuasive portrayal of a homeless man. I just wish the writers could have found some other, more plausible, reason for Romulus to interact with New York City's cultural elite.

The reviews are up and down for this one, and it may be because of the psycho scenes. As the first reviewer noted, it does a good job of getting the viewer inside the psycho's head, but if you aren't into strange scenes with psychotic visions, confusing sequences, etc you might find it tedious. These aren't the crisp psycho scene like in The Cell, but more like visions. The plot is good, and the supporting acting is adequate. But watching this nut stumble around trying to catch a crook might be too off the wall for some people. I'd give it a 6.5/10.

This is another little film that held my interest more than the hyped up films sitting in theaters this summer. Samuel L. Jackson is an ex-musician/husband/father -- now a Central Park cave dweller - who is determined to solve a murder, mainly to win the respect of his cop daughter.

The story is very good, as is the casting and the acting. But the film seems rather pretentiously made in parts and Jackson's character is problematic. There is no explanation as to why a brilliant man with such moments of amazing lucidity should have shunned his wife and child and chosen homelessness rather than some sort of treatment. Still, an interesting film to see on video.

The thin line between genius and insanity is examined in this story of a gifted man estranged from his family and separated from his vocation by his seemingly unfounded paranoia. `The Caveman's Valentine,' directed by Kasi Lemmons, stars Samuel L. Jackson as Romulus Ledbetter, a former Julliard student, talented composer and pianist who now lives in a cave near a park in New York City. Romulus treads that delicate line between reality and fantasy, his thought process interrupted by the `moth seraphs' that live within his head, but even during his most rational periods the demons of his delusions plague him incessantly. He alternately recoils from and stands boldly upright against the presence of the towering skyscraper (the Chrysler Building) wherein resides the `Big Brother' of his imagination, the man responsible for his present state of being, a man named `Stiverson.' But then again, is it really only in his imagination?

In his cave, Romulus has an unconnected television set he watches, which keeps him abreast of the latest `lies' concocted by those in power and foisted on an unsuspecting public. He lives alone, but is well known on the streets for his vociferous ranting and railings against Stiverson and those who seek to subjugate those like himself, those who haven't the strength or the power to stand up to them. Then one day, in the dead of winter, Romulus emerges one morning from his cave and finds something in a tree just outside. And what he finds sets him upon a quest that will prove to everyone once and for all that he is not crazy, that Stiverson and the others exist and are what he says they are, and if he is successful, he will finally have the proof. Now if he can but stave off his demons and maintain lucidity long enough to do what he must do; he is adamant, but just as he is beginning, `they' introduce their newest weapon which they wield in a soft, green light, the `Z-Rays.' Romulus, however, is frightened but not deterred, and more determined than ever to expose Stiverson for what he is.

Kasi Lemmons, who made an auspicious directorial debut in 1997 with `Eve's Bayou,' presents this complex story with a stylistic and artistic touch that at times evokes the spirit of Fellini (as with the `moth seraphs' sequences which she uses to great effect). She quickly establishes the character of Romulus and sets a pace that allows the mystery to escalate as the story unfolds. Her approach succinctly captures the paranoid world inhabited by Romulus in his own mind, and she plays on his sudden erratic behavior and the unexpected turn in the middle of a scene to build an underlying tension that makes the drama all the more riveting. Most importantly, she manages to go beyond what is happening in the film to convey the true essence of what this story is all about, with insight and an obvious and incisive grasp of human nature.

Samuel L. Jackson gives a dynamic performance as Romulus, who has a tendency to lapse into quiet moments, but guards against them as if they were a threat to his safety. Afraid to let his guard down, he fights his fears with anger and bravura, but clearly that's not who this man really is, which Jackson communicates quite effectively. There's nothing feigned or pretentious about this character, and Jackson takes him from a rational moment into madness seamlessly, which adds to the credibility of not only Romulus, but the entire film. This is not a man to whom you will be able to relate directly, but there are certainly elements of his situation to which you will readily be able to sympathize. Romulus is a thoroughly complex character, and Jackson realizes those complexities with insight and realism.

Also outstanding in one of the smaller, but pivotal supporting roles in Anthony Michael Hall as Bob, the bankruptcy lawyer who encounters Romulus and somewhat indirectly facilitates his mission. Hall has matured as an actor, and this is probably one of the best roles he's had since his youthful efforts in such films as `National Lampoon's Vacation,' and `The Breakfast Club.' Ann Magnuson also gives a noteworthy performance as Moria Leppenraub, the sister of artist David Leppenraub (Colm Feore), who is something of a free spirit and becomes involved with Romulus when certain circumstances lead him to David. Magnuson has a certain charismatic, Shirley MacLaine-like quality about her that makes her accessible and easy to watch, and she is very believable here as Moria.

Rounding out the supporting cast are Tamara Tunie (Shelia), Damir Andrei (Arnold), Aunjanue Ellis (Lulu), Peter MacNeill (Cork), Jay Rodan (Joey), Rodney Eastman (Matthew) and Kate McNeil (Betty). A thought provoking, emotionally involving film that is exceptionally well presented and acted, `The Caveman's Valentine' has something to say about the diversity of a society in which everyone has a place, no matter what they may appear to be, and the fact that absolutely no one should ever be dismissed out-of-hand. It says that there are no `throw-away' people; that the value of an individual often cannot be measured until confronted with extraordinary circumstances, for it is that which brings out the best and drives someone like Romulus to exercise the latent capacity which lies within. One of life's lessons, told here with a profound clarity by Lemmons, through a medium that is the magic of the movies. I rate this one 9/10.

I shall not review the story. I've read all the submitted reviews. I am an MD and as such see this picture from a different standpoint than that of a movie-goer. I think it is the best acting from the standpoint of being INSIDE of a paranoid schiz I'm aware of because you can see and feel the confusion. If you are confused by the jumping around so too is the poor psycotic. His superior mentality is used as a pianist as well as a caring person for others. He fights to maintain reality but "where is it" or "which is it?" Of course there is no clearing up at the end as there seldom is. But that is the beauty of this film. Feel and understand the plight of such a victim? Now maybe see it again.