Movies

He became ‘The Luckiest Man in America’ after outwitting a TV game show

BBG News

Titling the story of Michael Larson, who won over $110,000 on “Press Your Luck” in 1984, as “The Luckiest Man in America” is somewhat ironic. The truth is, luck had no role in his victory: portrayed here by Paul Walter Hauser, Larson meticulously memorized the patterns of flashing lights on the game show’s Big Board and cleverly avoided pitfalls to win an unparalleled amount from CBS. In Samir Oliveros’ film, which chronicles this peculiar event in TV history, the “luckiest man” moniker was hastily thought up by the producers behind the scenes, as they scrambled to turn their costly error into a profitable television spectacle.

The core of Oliveros and Maggie Briggs’ argument revolves around the corporate-created “luckiest man” narrative they criticize. This narrative, they argue, is a sharp critique of the misleading portrayals spread to convince us that becoming wealthy is as simple as participating in a game show, with fortune and fame merely a few turns away.

The Briggs’ main point is that the “luckiest man” story, which is often created by corporations, criticizes the deceptive messages we receive, making us think that getting rich is just like playing a game show, where luck could land you fame and wealth with just a few tries.

Larson’s tale has been adapted into several Game Show Network documentaries, a Spanish graphic novel, and most recently, “The Luckiest Man in America,” which delves into some of the control room and behind-the-scenes events from that day. It draws on 42 minutes of TV footage featuring Larson and insights provided by the son of producer Bill Carruthers (portrayed by David Strathairn in the movie). The scriptwriters acknowledge Larson’s checkered past involving scams and schemes, but the film primarily concentrates on the events of that day, providing a detailed picture of the television production process and how this scandal unfolded.

The film “The Luckiest Man in America” exudes a distinctly retro ambiance, evident through its ’80s fashion and hairstyles, set designs, and television-like presentation. Cinematographer Pablo Lozano skillfully employs the vibrant colors and flashing lights of the set to portray an almost dreamlike occurrence within the room. He merges different mediums by incorporating picture-in-picture VHS home movies and reenactments of the show, all expertly spliced together by editor Sebastian Hernandez. Moreover, John Carroll Kirby’s electronic score echoes the music of that era but gradually transforms into an abstract soundscape as the narrative takes a darker turn.

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As I sat down to watch this delightful dramedy from the ’90s, I couldn’t help but feel like I’d stepped into a time machine. The ensemble cast is reminiscent of the era, yet it brings something uniquely fresh to the table. If you recall “Quiz Show,” Robert Redford’s 1994 best picture nominee about a ’50s quiz-show scandal, you might draw parallels. However, “The Luckiest Man in America” carries a more humorous, vibrant spirit with its flamboyant hairstyles and eye-catching retro vibe.

The humor is provided by star Hauser, who masterfully straddles the borderland between comedy and drama. Hauser, once a character actor, now leading man, possesses such unique abilities that none other could replicate, not only in terms of his persona but also his acting skills. As Larson, he delves into an intricate level of detail in his gestures and physicality, which eloquently conveys the man’s character and mindset. He mimics the words of the show’s intro spoken by Peter Tomarken (Walton Goggins) and shakes hands with the host significantly when they meet.

Hauser exults with delight, tossing his head back, while Larson repeatedly commands “Stop!” during each spin. Remarkably, he doesn’t glance at the game board, and his premature celebrations hint at something to producer Chuck (Shamier Anderson). In essence, Chuck deduces that Hauser is using a strategy akin to “counting cards” in the show “Press Your Luck.” The casino setting. Hauser’s head-toss is imbued with an air of rapture as Larson achieves a state of focus on the Big Board, skillfully dodging hazards even as producers hurl mental challenges his way, aiming to disrupt him.

As a cinephile, I found myself immersed in Olivero’s masterpiece where Strathairn, an actor often underestimated, brings a television-worthy weight to his role as Carruthers. However, as the story unfolds, Carruthers transforms into a spineless executive who betrays his colleagues by abandoning his decision to cast the dubious Larson and leaving them to face the consequences.

Brian Geraghty and Patti Harrison breathe life into Ed and Janie, the contestants who witness Larson’s unparalleled dominance with a mix of frustration and powerlessness. Goggins excels as the game-show host, while Maisie Williams and James Wolk portray the overwhelmed production assistant and director trying valiantly to control Larson, who veers between panicked phone calls to his wife (Haley Bennett) and gleeful, record-breaking performances.

This movie, an American production, is crafted by a global team, including executive producer Pablo Larraín from Chile under his Fabula banner. The film isn’t merely a study of the peculiar tale and character who masterfully evaded media scrutiny; it delves deeper. The portrayal of chaos in the control room sheds light on how corporate narratives sculpt the American Dream mythos, critically challenging the notion that success is solely dependent on chance.

Katie Walsh is a Tribune News Service film critic.

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2025-04-05 02:31

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