Analyze That

Analyze That

After the success of “Analyze This” in 1999, it was inevitable that there would be a sequel to “Analyze That”, but was it necessary? Something that seemed very clever the first time around seems like a rehashing the second as mob boss Paul Vitti (Robert De Niro) returns to therapy with Dr. Ben Sobel (Billy Crystal). As much as I loved the first film, they’ve pretty much exhausted this idea.

But then again, “Analyze This” was nothing more than a sitcom anyway; it just had an aura because of the casting. It’s funny to see Robert De Niro playing a neurotic mobster and Billy Crystal is good casting as a shrink because he can seem smart even during panic attacks. Lisa Kudrow has nice off-balance disbelieving way with dialogue that plays against Crystal rather than just out shouting him and there was also Joe Viterelli, mammoth as ever, as Jelly, the boss’ loyal chauffeur and sidekick. All of that worked once before and kind of works sometimes in this film. But the story is contrived if one seemed to flow naturally from its premise, this one seems to slither guiltily onto the screen feeling exactly like what it is: a facile superficial rehash.

The movie opens with Sobel at his Dad’s funeral when he takes a cell call from Sing Sing right there in the front row at temple. Turns out Vitti has turned goofy and does nothing all day but sing songs from West Side Story is he crazy or faking it? Whether he’s faking it or not, he knows all the words; he does not get less goofy after being released into Sobel’s custody (and Laura’s), placed under their supervision in their home. Laura hates this idea but FBI insists on it: Vitti’s good behavior is Sobel’s responsibility.

Then the film falls into a completely unbelievable contrived heist subplot, with Sobel linked with the robbers; and Cathy Moriarty (De Niro’s wife in “Raging Bull”) turns up as head of a rival gang, in a rivalry that never seems anything more than an excuse for some routine mob war threat and response routines. Harold Ramis, directing and co-writing (as with the first film), is a gifted filmmaker, author of many great laughs in these movies, but he should reflect that there is a reason most sequels are not directed by the same men who made the originals: A movie that inspires a sequel, if it’s any good, incorporates qualities that cannot be duplicated.

What we get here are several talented actors delivering their familiar screen personas in the service of an idiotic plot. But there’s pleasure to be had from hearing De Niro say “You’re good! No! You’re good!” to Crystal for the umpteenth time; and watching De Niro use that beatific smile as if his character is saintly to bestow such praise (a compliment from De Niro is rather like being knighted); and Crystal suggests quickly enough in this character as in life, his mind runs so rapidly it spits out the truth before his better judgment can stop it; and Kudrow plays not the wife who doesn’t understand but the wife who understands all too well although she is sadly underused here.

Another thing is Joe Viterelli as Jelly. When writing about the first movie, I saw him as playing “not just a mobster, but an older man who is weary after many years in service, but loyal and patient with his weirdo boss.” “Analyze That” disappoints because Viterelli gets invited back but doesn’t get made to feel welcome at the party. We lose that feeling that De Niro needs him, that he comes with the package. Now Crystal is all De Niro cares about. And if Vitti and Sobel are a double act, what’s the movie for?

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