One of the most fascinatingly strange and unpredictable films of 1999 still carries with it more pleasures to be discovered
When Being John Malkovich opened in 1999, nobody knew the name of its screenwriter, Charlie Kaufman, who’d spent the previous 15 years laboring in the
comedy salt mines, submitting articles on spec to National Lampoon, writing a number of unproduced pilots, and landing gigs on short-lived (if beloved) sketch shows like Get a Life and The Dana Carvey Show. Yet as soon as it premiered – and for every project he did afterwards – it was talked about as a Charlie Kaufman film, even though it was directed by Spike Jonze, whose work on innovative commercials and videos for Weezer (Buddy Holly), Beastie Boys (Sabotage), and others had earned him a reputation as one of the most sought-after talents in the business. This was virtually unprecedented; even Robert Towne, whose script for Chinatown is frequently cited among the best ever written, wasn’t credited over its director, Roman Polanski.
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