The Extra Man is a rather unconventional film about a pair of very unconventional characters. Louis Ives (Paul Dano) is a young aspiring playwright who moves to New York City after an embarrassing incident that forces him to quit his job. He meets and moves in with Henry Harrison (Kevin Kline), a former professor and playwright who now works as an “extra man,” which he stresses is not the same as a gigolo, or even a male escort; first of all, he doesn’t receive money for his services, and secondly, he doesn’t engage in anything sexual with the wealthy older women who hire him. Instead, he says, he brings a certain air of respectability and class to his engagements, in exchange for gifts and fine meals. In the meantime, he lives the sort of penniless existence that occasionally requires him to paint his ankles and calves with shoe polish in order to disguise the fact that he has forgotten to buy socks, which he says may have the added benefit of killing some of the fleas that inhabit him.

Louis is duly fascinated by Henry’s eccentric, acerbic ways, and Kline delivers one of the best performances of his career, mining big laughs from lines like, “I’m against the education of women. It dulls their senses and effects their performance in the boudoir.” He also rails against such practices as recycling and charity to the homeless, which makes an interesting contrast to Louis’ newfound job at an environmental magazine, where he develops a crush on his vegan, uber-green co-worker, Mary Powell (Katie Holmes). Louis is also fascinated by Henry’s mysterious, bearded neighbor, Gershon Gruen (John C. Reilly), who can be heard through the vents each morning singing beautifully as he showers. Louis is hiding his own eccentricity from his new friends, and without giving away too much about the course this particular character development takes, I will say it is perhaps the most sensitive, realistic exploration of heterosexual cross-dressing since Tim Burton’s Ed Wood.

Co-directors Shari Springer Berman and Robert Pulcini, adapting a novel by Bored to Death scribe Jonathan Ames, clearly share Louis’ attraction to cranky oddballs such as Henry, as evidenced in their excellent first feature, American Splendor. Henry has much in common with that film’s protagonist, Harvey Pekar (Paul Giamatti), though there is a misplaced sense of class superiority in Henry that Harvey would undoubtedly abhor. Still, as mean-spirited and narrow-minded as Henry often seems to be, it is difficult as an audience member not to share in this fascination; as Louis says at one point, “You have a strange power over people, Henry,” to which Henry replies, “It’s my constant disapproval. People think it fatherly.” He might not be someone most of us would actually want to live with, but Henry is a wonderful cinematic creation, and probably Kline’s funniest role since A Fish Called Wanda. Though The Extra Man has much else to recommend it, it is this central character that buoys the film, and brings added life to all around him.

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