Stanley Ipkiss (Jim Carrey) is a bank clerk that is an incredibly nice man. Unfortunately, he is too nice for his own good and is a pushover when it comes to confrontations. After one of the worst days of his life, he finds a mask that depicts Loki, the Norse night god of mischief. Now, when he puts it on, he becomes his inner, self: a cartoon romantic wild man. However, a small time crime boss, Dorian Tyrel (Peter Greene), comes across this character dubbed "The Mask" by the media. After Ipkiss's alter ego indirectly kills his friend in crime, Tyrel now wants this green-faced goon destroyed.Written by
Ian Pugh <firstname.lastname@example.org>
As befits Stanley's obsession with cartoons, The Mask acts like various cartoon characters, most notably the Tasmanian Devil (traveling as a tornado), Pepe Le Pew (romancing Tina in the park), Bugs Bunny ("dying" in the gangster's arms), and Tex Avery's Wolf (seeing Tina in the nightclub). See more »
When Stanley opens the closet to hide the mask, and all the money comes out, some of the bills are clearly blank pieces of paper. See more »
Do you know how hard it is to find a decent man in this town? Most of them think monogamy is some kind of wood.
See more »
When all the credits have finished some jazz drumming is heard. Then the familiar sounds of The Mask are heard saying "Yo-ho-ho-ho" (in a very drawn voice) then the sound of The Mask spinning away is heard straight after. See more »
New Line's Special Edition DVD includes two scenes that were removed from the theatrical version prior to release:
a prologue, set in the 11th century, showing the arrival of a Viking boat to America; the Vikings come ashore, bury a chest that contains Loki's mask and then leave;
(SPOILER) a longer version of the scene where Peggy Brandt betrays Stanley. In the theatrical version she supposedly leaves the printing plant after getting her money; the longer version shows the Masked Dorian killing her by throwing her inside the presses.
It's hard to use Jim Carrey in a movie. He's very good at his rapid-fire mimicry routine, but how can it ever be anything other than a diversion from both character and story? (Very rarely is it a pleasant diversion. `Ace Ventura' was unendurable.) And yet, what else can you do with him?
The `Mask' solves the problem so neatly it almost cheats. The story is ABOUT someone with a double life - so by day, Carrey does all the character and story stuff, and by night, wearing the mask, he does his stand-up schtick. The two are as integrated as they need to be. It's pulled off with such an air of innocence I can't possibly complain. SOME of the clichés (those to do with the police especially) are so very worn out that even the most thorough of movie-goers is surprised to find them still alive; but the writer seems to have been honestly unaware that they were clichés, so that's okay.
I was told that the film is saturated with animation in-jokes. I couldn't spot very many. Stanley-with-the-mask has the soul of a Tex Avery cartoon character: I suspect that's all there is to it. The computer animation, or the computer-enhancement of Carrey's animation, is tastefully done. It never looks pasted over the top of the footage the way so much computer animation does. (`The Mask' failed to win an Oscar in the special effects category - like so many other more deserving films, it was beaten by `Forrest Gump'.) The Cuban dance numbers are irresistible, as is Stanley's pet dog. Sure, `The Mask' is no masterpiece, but it's a clever, charming film that richly deserved its runaway success.
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