Detective Bobby Gold (Joe Mantegna) comes to see himself as torn between two discrete worlds in David Mamet’s Homicide (1991). Only when maneuvered into a position in which he must choose, the duality unravels and he finds he is no one special and belongs nowhere in particular.
Gold’s partner Sullivan (William H. Macy) has an unreserved man-crush on him, taking every opportunity to publicly butter him up and extol the therapeutic pleasures of police work. He reminds their peers that his revered partner is “Bobby The Orator,” so-called for his skill at negotiation. Indeed the moniker is deserving, for he is called on to calm a rabid dog with mere words, and later sweet-talk a ferociously stubborn mother into betraying her son. But Gold is certainly no action hero, confirmed in a early scene as he is beaten up and disarmed by an overweight civilian, in the sanctuary of the police station. By the end of the film, he has lost his sidearm a second time and is quickly physically bested again by the crook Randolph (Ving Rhames). Is it too much of a stretch to link his failure to control his weapon with impotence and castration? He certainly feels perpetually aggrieved. At each unfair turn in these very unfair events, he repeats his refrain: “What did I ever do to you?”
“You got some heavy troubles on your mind? Huh, babe? We’ll work it out. We’ll play some cops and robbers. We’ll bust this big criminal. We’ll swagger around.”
Bobby accidentally comes across a seemingly mundane murder while chasing down the sexier Randolph case (the kind of unambiguous, action-packed police work, with measurable results, that grants Gold and Sullivan existential satisfaction). Elderly Jewish woman Mrs. Klein has been found murdered in her inner-city candy shop. Everything points to a simple robbery, “everything” being, of course, the supposition that poor neighborhood African Americans have robbed a rare white business. Klein’s son, not quite grieving but resigned to a lifetime of persecution, sighs “It never ends.” When Bobby asks “What never ends?”, granddaughter (Rebecca Pigeon) coldly clarifies for him: “On the jews.” Already the murder escalates from a robbery to a hate crime, and this is a strong whiff of catnip for a man who also believes himself to be perpetually put-upon and aggrieved. As the Klein family correctly infers, Bobby is a Jew. But he wears a 5-point star as a cop. His sublimated Jewish pride only comes out in defense against the occasional professional flare-up in which he is called a “kike.”
Fittingly for a detective celebrated for a mastery of words, pursuing the Klein murder case is more an act of literary scholarship than one of police procedure. Gold’s investigation brings him to a Jewish research library where he senses deeper mysteries encoded in his ancestral Yiddish. His single best clue is the tantalizing derivation of the nonsense-seeming word “Grofatz.” All of this leads him into a confrontation with a decades-old group of Zionist warriors (who may be or may not be the Mossad, although the name is not mentioned in the film) who awaken him to his vengeful Jewish identity. Hungry for the rush of positive action that his cop side is currently denying him, he elbows his way into their ranks and becomes addicted to violent action.
“Hey, you’re better than an aquarium, you know that? There’s something happening with you every minute.”
But Homicide is a policier on the surface only. Like most of Mamet’s plays and screenplays, the plot is structured around a deep, complex confidence game. House of Games, The Spanish Prisoner, Glengarry Glen Ross (read The Dork Report review), Spartan, and Redbelt (read The Dork Report review) all feature a long con of one form or another at their cores. A sucker is a sucker because of the truism that if one looks hard enough for something, one will find it. Most of Gold’s apparent clues and leads evaporate into meaningless happenstance. What is at stake is not what he thinks, and he finds himself used and abandoned.
Special mention goes to fine cinematography by the great Roger Deakins. The decaying Baltimore provides for two spectacular chase scenes, one along the rooftops and another below the asphalt. Each coils into a labyrinth, spiraling down and in, deeper and deeper, until Bobby encounters physically powerless but immovable minotaur-like figures the disarmed man must battle with his words alone.
Must read: Homicide: What Are You, Then? by Stuart Klawans
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