Following decades spent working for the United States Postal Service in New York City, Ed Saxberger (Willem Dafoe) returns home one day to his SoHo apartment to discover avisitor waiting for him. Meyers (Edmund Donovan) is an eager young writer who has tracked Saxberger down after discovering acopy of his only published poetry collection, which he devoured in one afternoon sitting in “Foyles on Charing Cross Road” (IYKYK). Saxberger is surprised and touched, though declines the enthusiastic invitation to join Meyers’ literary group. The dogged Meyers is not dissuaded, and, after some gentle persuasion, Saxberger’s long-forgotten vanity gets the better of him and he decides to grace the group with his presence.
The jumble of rich boys living on Mommy and Daddy’s dime fancy themselves as the next Beat generation icons, spending their afternoons and evenings lounging around in coffee shops and bars trying to say something interesting about their hyper-privileged lives. Their number permit only one female member, the eccentric actress Gloria (Greta Lee), who most of the group have either an active or past infatuation with. Saxberger is not immune to her charms, taken in by her free spirit and spontaneity. She represents the life that Saxberger thought he would lead when he was aworking-class boy who moved to New York City in search of the artistic life.
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As the group work towards putting on aliterary showcase (which they treat as if it’s an entirely novel concept rather than something that occurs every night in New York City), Saxberger reckons with the diverging path his life took from the one he thought he’d have as apoet. It’s afilm in love with the downtown New York of yesteryear – aplace haunted by Cookie Mueller and William Burroughs, and one Saxberger has all but forgotten until Meyers careens into hislife.
While Samy Burch’s script makes some amusing observations about the fact that only rich people can afford to be artists, it’s afar cry from the knock-out that was her May December screenplay. Dafoe is serviceable, but poor Lee gets the worse of it, amanic pixie litgirl who is only afforded interiority at the end of the story. She does what she can, but the theatre kid energy makes Gloria aconsistently grating presence.
Late Fame ends not with abang but awhimper, never quite finding the heart of its narrative. It’s reminiscent of Owen Kline’s 2022 comedy Funny Pages in its portrayal of an unappreciated genius being discovered by abright-eyed youth, but Kline’s instincts were sharper and stronger. Director Kent Jones doesn’t deliver acompelling eulogy for the lost creative hub of the Big Apple, and his film always gestures towards more interesting artists than presenting one of itsown.