Frankie and Johnny Are Married is not an attempt to remake Garry Marshall's 1991 film Frankie and Johnny. In fact, that version of the Terrence McNally play and numerous other real-world entities, including the TV show Chicago Hope, are all referenced in this self-reflexive movie from writer/director Michael Pressman, who plays himself as one of the central characters. That the movie is about a bored producer and his struggling actress wife -- and that this is who Michael Pressman and Lisa Chess really are -- just hints at the ambitious conundrums that would have buried a lesser film. Frankie and Johnny Are Married handles them deftly, with never a false note, and with an hilariously self-deprecating performance by Alan Rosenberg, playing himself as an egotistical SOB who squashes underlings, fails to memorize his lines, and consistently misunderstands character motivations. Pressman's story jumps off from his own life experiences as a financially compensated but artistically unsatisfied producer of Chicago Hope, and the film even features cameos from a handful of the show's actors. From there, it launches into the decision to stage +Frankie and Johnny at the Clair de Lune, and the result is a movie whose creators thought it might jump-start them, about a play whose interpreters thought it might jump-start them. Again, this is all very convincing and funny, the delicate balance preserved marvelously, and since it's shot on digital video, it feels almost hyper-real. There's a juicy irony in that the movie turned out about as disastrously as Pressman's initial staging of the play, as it went unheralded and virtually unseen. The main difference being that the play depicted in the film was a true flop, while the film itself is a little gem that slipped through the cracks.