Imagine if your life followed this course. You're recently divorced and unemployed, although you have enough cash to finally buy the little "house for one" you've always dreamed of. Then your brother learns that he has cancer and moves into your house, followed shortly thereafter by your parents. Suddenly you find yourself living an odd semblance of your childhood. To top it off, you then learn that you also have cancer.
Now for those who follow the old "glass half full" or "glass half empty" philosophy, one could either succumb to such a harsh turn of events, or conversely, find humor amongst the pain and pathos. Ever the resourceful comedian, that's exactly what actress Julia Sweeney (TV's "Saturday Night Live," "It's Pat") did. Initially taking those real-life trials and tribulations to the stage, she's now adapted her monologue performance for the silver screen.
Honed during those improvisational and apparently cathartic, theatrical skits, Sweeney's performance is at times funny, occasionally hilarious, and is often heartwarming and touching. Although the complete lack of other performers and settings in this monologue takes a little getting used to, and Sweeney doesn't have the storytelling style of a Spalding Gray ("Swimming to Cambodia") or the ability to perfectly mimic other characters in the style of Tracie Ullman or John Leguizamo, the effect still works if given the right frame of mind and enough time.
In the grand tradition of storytelling, Sweeney weaves interesting and often funny side bits into her general story. From her father's newfound preoccupation with all things news -- and particularly National Public Radio -- to the way her mother answers the phone, and from her "traveling ovaries" to briefly mentioning Yamamoto, her sister's sweet potato farmer who's nicknamed "Yam," these supplemental shorts, when combined with the main "plot," manage to completely engross the audience by the time the tale comes to an end.
Only a few minor drawbacks slightly mar this otherwise entertaining production. First, and despite the close-up intimacy a zoom lens can provide, one is constantly reminded that this is a filmed stage performance. Recognizing the absence of the "you are there" feeling always found in attending a live "event," Sweeney -- also acting as the film's director -- tries to liven things up by constantly, but slowly moving the camera around herself.
Not only is this distracting for the movie audience, but there's also a jarring, poorly conceived moment when our camera pulls back to reveal another camera crew, the sight of which immediately disconnects the audience from the storyteller.
Fortunately, the camera movement eventually and mostly subsides during the film's second half, presumably because Sweeney correctly recognizes that by that point the audience is engrossed in her tale and has accepted the stage trappings. Unfortunately, the live audience present during the filming also ends up being another distraction. Ready to laugh at any moment, they're a clear reminder that we're not there, as well as just how annoying similar TV sitcom laugh-tracks can be.
Nonetheless and notwithstanding those mild objections/problems, the film and Sweeney's performance are still quite good. Better yet, her little known personal story should definitely help audiences forgive the actress for ever being associated with the "It's Pat" character she played on "Saturday Night Live" and mistakenly brought to the big screen. We give "God Said Ha!" a 7.5 out of 10.