The "auteur theory," as conceived by Cahiers Du Cinema critics, conferred value on Hollywood directors whose authorial imprint was evident in all their films, regardless of subject matter or changing cast of collaborators. But in the current age of self-styled auteurs, directors are all too conscious about placing recurring elements into their work. In a run of independent films that dates back to the 1997 comeback Two Girls And A Guy and continues through 1999's Black And White, 2001's Harvard Man, and the new When Will I Be Loved, director James Toback has repeated himself so shamelessly that the auteur label seems a bit too flattering. In fact, aspiring young filmmakers could make their own James Toback movie by simply combining some or all of the following ingredients: a self-loathing hustler with a weakness for the ladies, hot women who swing both ways, references to black male sexual prowess, group action in Central Park, rap music juxtaposed with classical music, and cameos by washed-up stars or Mike Tyson.
Ever the hip provocateur, Toback taps into the youthful elixirs of outré sex, dumb ambition, and Daddy's credit card in When Will I Be Loved, a typically indulgent foray into gender politics, manipulation, and revenge. However, the film gets an entertaining kick from Fred Weller, who wraps his silver tongue around one sleazy lie after another, playing the motor-mouthed Toback alter ego better than anyone since Robert Downey Jr. Constantly working his get-rich-quick schemes, Weller strikes gold when he brokers an encounter between his girlfriend (Neve Campbell) and a billionaire Italian count, played with docile charm by The Sopranos' Dominic Chianese. As the spoiled daughter of wealthy parents, Campbell doesn't need the money, but Weller pimps her out anyway, gravely underestimating her own coy savvy in the process.
For all of Toback's optimism about sexual fluidity and unconventional relationships, When Will I Be Loved extends his deep cynicism about human nature, which invariably revolves around power games and exploitation. As a femme fatale of sorts, Campbell plays effectively against her earnest reputation, especially in the way she controls Weller's slithery charm like an expert snake-handler. But in contriving her way out of a bad situation, her character needs to anticipate countless moves ahead. Beyond the "hell hath no fury" angle that overlays the story, When Will I Be Loved amounts to nothing more than another repository for kinky Tobackisms: Seen one (and the one to see remains 1978's Fingers), seen them all.