Fluke

Fluke belongs to that tiny genre of nineties movies that attempted to transform the heartless Yuppie of the 1980s into the new caring, sharing, sensitive New Man of the end of the millennium. Harrison Ford’s hairstyles in Regarding Henry best typify these films as he switches from a slicked-back look to a softer, fluffier, more welcoming style after being shot in the head. Bizarre as it may seem, Fluke goes one step further and actually kills off Matthew Modine in its opening scene only to reincarnate him as a homeless but loveable puppy dog. Yet rather than delve into anything remotely fantastical following this conceit, the director and co-writer Carlo Cerlei (best known for the Italian arthouse hit Flight of the Innocent) simply puts Modine through the same schematic paces of Ford et al on his road to self-improvement.

The result of this is a seemingly endless parade of clichés, literally one following on from the other. Firstly, Fluke (Modine’s canine name) is separated from his mother, then escapes death, then must face up to the death of others, then befriend a streetwise companion (voiced by Samuel L. Jackson) etc etc, with each moment set to either soft-focus flashbacks to his previous life, suffused with a warm glow or jaunty runs through fields and over hills to the accompaniment of fiddles on the soundtrack. This, incidentally, is only one of composer Carlo Siliotti’s crimes; any moment which might possess a modicum of significance is signposted in the most overbearing of manners. Of course, with an onslaught such as this, the entire enterprise becomes so predictable that its relatively brief 90 minute running time proves an immense struggle.

Faced with such difficulties, one would expect the cast to offer some respite and the array of acting talent assembled for Fluke certainly looks impressive on paper. As well as Modine and Jackson, the supporting roles are occupied by such luminaries as Eric Stoltz, Ron Perlman, Jon Polito and Bill Cobbs. Yet whilst the film is overtly serious in its efforts to provide moral lessons for both its child and adult audiences, Carlei allows many of the actors to get away with the most two-dimensional of characterisations. Perlman is one of the worst offenders, playing a leather jacketed thug who likes to step on dogs’ tails and forms such a grudge against Fluke that he sets about capturing him and selling him to a lab for experimentation (!) Quite frankly, he wouldn’t seem out of place in a straight-to-video Home Alone sequel/rip-off and what little diversion from the plot he offers is there solely, of course, to provide Modine with yet another life lesson.

In Fluke’s favour, it must be said that the direction is proficient enough to allow these contrivances to fall into place and flit from one to the other seamlessly. Yet making a character complete his ‘emotional journey’ and fulfil his ‘arc’ – and yes, Fluke really is that by-the-numbers – is hardly the sign of a great film and perhaps only the least discerning viewer will forgive the many faults; though few such viewers are likely to exist.

The Disc

Made in 1995, it’s hardly surprising that Fluke should look good on DVD. MGM present an anamorphic transfer in the original 1.85:1 aspect ratio as well as a Dolby Digital 5.1 mix. Both remain crisp and clear throughout and neither present any technical difficulties. However, a fine transfer of a lacklustre film does not make a disc worth purchasing and neither does the sole extra of the theatrical trailer. Especially one which makes the film seem, if such a thing is possible, even more sentimental than it actually is!