Why am I reluctant to publicly pan one of the year’s most acclaimed films? What am I afraid of — being labelled a cinema rat, and getting whacked by a couple of film geeks?
It took me years and years of being a film buff, through film school and beyond, for me to realize that Iâ€™m just not into Scorsese. He made one of my personal all-time favorites: The Last Temptation of Christ, which led me to Nikos Kazantzakis’ novel and Peter Gabriel’s score, all of which gave my teenage self a lot to think about. But beyond that: yes, I appreciate how groundbreaking and influential works like Mean Streets, Raging Bull, and Goodfellas are, and the filmmaking craft is often outstanding, but I would rather not watch them again for personal edification. He’s one of those filmmakers I keep up with out of obligation to the canon, not out of any personal interest. I wouldnâ€™t call it a blind spot; more of an immunity.
There’s close to zero new ground broken in The Irishman, and I just don’t understand the praise. A psychopath rationalizing his crimes as being in defense of his family? That’s the entire premise of The Sopranos. A mobster torn between loyalty or betrayal of an unstable friend? That’s 9 out of 10 mob movies ever made (I’m specifically reminded of Donnie Brasco, which boasts a much more soulful performance by Pacino). A peek into the day-to-day operation of the mafia? I guess if you liked the money laundering sequence in Casino, and get off on montages of tough guys collecting fat envelopes, there’s plenty more of that business for you here.
And there’s a limit to how intimidating I find movie-mob dialog (you gotta do that thing, you know the thing we talked about, no not that thing, the other thing, to that guy, no not that guy, the other guy, send him to Australia, no not that Australia, the other Australia, etc). Today, it seems pitifully quaint with reality-TV-money-laundering-compromised-wannabe-gangster Donald Fucking Trump issuing the same kind of insinuating orders to his underlings and soliciting bribes every day from the goddamn White House.
Even more frustrating, Scorsese remains blind to the women in his fictional worlds. I managed to recognize Aleksa Palladino at one point despite the camera practically ignoring her. I don’t want to hear about how pivotal Anna Paquinâ€™s role was; she had about 1 minute of screen time, and maybe five words of dialogue (and that’s out of about 10 from all female characters, period). We know more about the countless male supporting characters all graced with freeze-frame epitaphs. So she recognizes her father’s criminality — so what? So did I, and I didn’t need an onscreen avatar or moral compass to do so. Yes, the mafia as an organization may be a man’s world, and men like Frank are the type to set aside the women in his life, but that doesn’t mean every gangster film has to.
Another thing that drove me nuts: Iâ€™m half-Irish and half-German, like Hoffa, and from the Philly area, like Frank, so I couldn’t suspend my disbelief for one second to imagine De Niro and Pacino dunking scrapple in their Guinness.
The most interesting part of the movie for me was when I recognized Jeff Beck playing over the end credits. I can’t find his name cited anywhere in relation to this film, but it had to be him; no one else plays guitar like that.
Khoi Vinh rightly observes in Minimalism, Michael Mann and Miami Vice that “Mann has produced a taut, stylistic and often brutally impersonal filmography that seems most interested in the concept of work” (via Daring Fireball). I wholly understand and laud the aim of a minimalist, “relentlessly withholding” narrative, but I don’t believe it’s ignorant or populist to demand more. Mann has proved again and again to be a master at managing both character development and cold hard plot, particularly in his masterpiece Heat. So to my eyes, Public Enemies marks a regression. The danger in perpetuating multi-million dollar movies without an interest in human beings is entire multiplexes full of soulless special effects showcases like Transformers. Vinh goes on to appreciate Mann’s construction of the film as a form of design, not least because Mann commissioned Neville Brody to design a typeface New Deal, and the whole article is a must read.
The curse of avidly following any particular artist is that one is set up for disproportionate disappointment whenever their latest work doesn’t measure up to their very best. Mann is one of my own personal favorite filmmakers, and for the record, I would cite Thief, Heat, The Insider, and Collateral as his best and some of my favorite movies overall. As for the rest: Manhunter suffers from the usual criticisms levied against Mann (dated, stylized, and overserious). The Last of the Mohicans is overrated (famous mostly for its catchy score and capturing Daniel Day Lewis on film at his most hunky). Ali was a relatively conventional biopic. And finally, I was downright shocked by how garish, empty, and, well, just how bad Miami Vice was (on first viewing, at least).
Atypically for the genre, all three of Mann’s biopics are focused on a limited timeframe. The Insider, Ali, and Public Enemies all examine famous figures as adults, during the most active and famous portions of their lives. Public Enemies can’t help but be hamstrung by the rules of nonfiction, which is by definition less dramatically interesting than fiction. Fiction is carefully crafted by an author, and nonfiction is messy serious of events that won’t slot into Aristotle’s Poetics, Joseph Campbell’s The Hero With a Thousand Faces, or Robert McKee’s screenwriting formulae that we as a culture find cathartic in art almost by detault. Ali is also a casualty of this equation; it’s a biography, not a narrative. That doesn’t explain the brilliance of The Insider, which I consider a triumph. Perhaps it’s because its subject Jeffrey Wigand is not in the same league of fame as Muhammad Ali or John Dillinger, allowing the audience to discover more than they may already know. I would argue that The Insider is actually about something bigger than the life story of one man; it questions whether integrity, purity, and honesty have a place in a modern world run by corporations.
Before I enumerate my complaints about Public Enemies, it must be said that it’s wholly engrossing. Mann’s customarily deep research results in a characteristically high level of verisimilitude throughout. Many sequences were shot in the actual historic locations, including a raid on a safe house at Little Bohemia Lodge in Manitowish Waters, Wisconsin, a jailbreak from Lake County jail in Crown Point, Indiana, and Dillinger’s death at the Biograph Theater in Chicago. The action is visceral and the suspense is nail-biting, especially a sequence in which John Dillinger (Johnny Depp) brazenly strolls through the Special Crimes Unit offices the day before he is to die. One might assume this astonishing event to be a fabrication for dramatic purposes, but Roger Ebert says it’s “based on fact”).
Any follower of Mann’s work will be unsurprised to see that Public Enemies is visually beautiful. Cinematographer Dante Spinotti previously shot Manhunter, Last of the Mohicans, Heat, and The Insider on film — how quaint! — but here turns to digital video, with which Mann and Dion Beebe experimented on Collateral and Miami Vice. The scenes set in a dimly-lit F.B.I. telephone surveillance office look particularly striking on digital video. Stanley Kubrick sought natural light so dearly that he famously helped develop special lenses capable of shooting by candlelight for Barry Lyndon, so one suspects he would have loved the technology now available.
Terrifying, petrifying gunfights have been a trademark of Mann’s since his earliest feature The Keep. He has perfected it by Public Enemies, in which the tight choreography and extreme violence is matched only by the concussive sound design. These sequences hark back to the innovative urban firefight in Heat, when to the filmmakers’ happy surprise, the actual production sound proved more earsplitting than was possible with post-production foley effects. When I saw Public Enemies in the theater, the first reel was marred by terrible sound (an improvement over my first viewing of Miami Vice, which was almost inaudible throughout). Once resolved, the volume was loud enough to almost physically feel the force of bullets splintering walls, tree trunks, and background performers. Mann used to reserve his epic gun battles for climaxes, such as when Frank (James Caan) raids the mobster’s house in Thief, and Graham (William Peterson) single-handedly attacks The Tooth Fairy’s (Tom Noonan) lair in Manhunter. The shootouts grew to massive scale and epic lengths in the later films, like the unnerving nightclub raid in Collateral, and especially the cataclysmic downtown LA shootout that occurs roughly in the middle of Heat, which the film remorselessly builds towards and then thoroughly explores the ramifications.
In contrast, much of Public Enemies is a long, sustained chase — a structural conceit Mann seems to have been embracing ever since Collateral. As Fernando F. Croce observed on The Auteurs, “Mann has gradually shifted from an image-based artist to a movement-based artist. Make that a sensation-based artist” … “Mann’s characters are dreamers posing as tough guys.” Mann punctuates the constant forward motion of the plot with action set pieces including at least two jail breaks, several bank robberies, and a chaotic raid on a safe house. Both jail breaks are clever, in which the audacious Dillinger largely exercises brains over brawn, and designs each at least partly to humiliate the lawmen. In the first, Dillinger gets himself deliberately locked up in order to bust his associates out. In the second, they make their getaway in the sheriff’s own car.
Dillinger died in 1934, marking the twilight of the classic gangster era in more ways than one. His activities instigated the creation of the F.B.I. and the passing of laws that inhibited criminal enterprise, making him very unpopular with the organized crime families that were happily operating with relative freedom before he started showboating and stirring things up. His criminal career coincided squarely with the Great Depression era. Mann refrains from showing the stereotypical Hoovertowns or desiccated farmsteads directly, but the largely unspoken economic strife hangs over everyone nevertheless. One of the reasons Dillinger became such a folk hero is that he carefully cultivated a Robin Hood persona by very deliberately taking care not to rob individuals, but to steal from banks and, by proxy, the vilified federal government.
Contemporary media hype made Dillinger a celebrity, and ultimately one of the last romanticized criminals to be able to hide out in public. Mann depicts this idolization subtly. For instance, when the gang refreshes themselves at a farmhouse after breaking out of jail, the woman of the house quietly begs Dillinger to “take me with you.” Note she specifies “me,” despite having children in tow. Most people still know his name today, despite him lacking a memorable nickname like his peers Pretty Boy Floyd and Baby Face Nelson. Incidentally, Baby Face portrayed in Public Enemies by actor Stephen Graham as dangerously unhinged and murderous. He has the criminal mind, but unlike Dillinger lacks the discipline to make it work for him. The dynamic is similar that that of Neil vs. his wayward henchman Waingrow in Heat. Dillinger can’t do what he does alone, but any association with a man like Baby Face courts disaster.
In Knives Out for Michael Mann, Kim Masters dishes the latest dirt on Mann (via In Contention). Anonymous gossip has him as one of the most difficult and even irresponsible directors working today, and studios may no longer wish to front his high price tag for movies that aren’t profitable. I usually protest when I hear studio executives complaining about “difficult” filmmakers — of course filmmakers are difficult — they’re the artists and studio executives are businesspeople. Without difficult artists, the accountants and MBAs that run the movie industry would have no “product” to sell. I usually dismiss the comments of executives that get paid more than the artists they supposedly enable to express themselves. But if the rumors about Mann are true, he’s more than just difficult. In the case of Miami Vice, he reportedly disregarded the safety of his crews by filming in the Gulf Coast as Hurricane Katrina bore down — followed by an actual gun fight on the set. Conditions were so bad on the set of Public Enemies that Depp reportedly stopped speaking with Mann.
According to Scott Shoger’s Hollywood Goes Gangster, Dillinger was a movie buff, and was even semi-seriously planning a movie about himself not long before his death (an intriguing fact we don’t see in Public Enemies). The last movie he saw was Manhattan Melodrama, for which Clark Gable he won an Oscar. Being Dillinger’s last movie ticket gave the film an undeniable marketing boost. Mann shows Dillinger in a state of reverie as he watches key excerpts that had some personal relevance to how he saw himself. Shoger also states post-Hays Code Hollywood had an unwritten agreement to not produce explicit biopics of actual gangsters, lest they contribute to their celebrity and glorify the criminal lifestyle. This self-censorship more or less held until Arthur Penn’s Bonnie & Clyde (1967). As such, only a few movies have told John Dillinger’s story, including The FBI Story (1959, with Jimmy Stewart), The Lady in Red (1979), and at least two simply called Dillinger (1973 and 1991).
In thinking about Public Enemies, I can’t help but keep going back to Thief and Heat, and it doesn’t survive the comparison. Maybe the real John Dillinger just isn’t as interesting as two of Mann’s previous fictional thieves (or in Mann’s parlance, “guys that pull down scores”): Neil (Robert De Niro) in Heat and Frank (James Caan) in Thief. Public Enemies is all surface, without the rich characterization of Thief and Heat. Public Enemies left me grasping at the tiniest of fragments in search of depth or subtext: a little look by an actor, a telling line of dialogue, anything. But there isn’t much there. Roger Ebert appreciates the refreshing lack of backstory conventional in both the biopic and gangster genres. I agree with him in principle, but would like to point out that neither Thief nor Heat features backstory — both flesh out its characters with what you might call “now-story.”
Another frustrating cypher is the man Purvis drafts as as controversial expert on Dillinger. Charles Winstead (Stephen Lang), was an actual historic Texas Ranger, but unless I missed something, the movie doesn’t identify him at all, and in fact suggests that he’s from the wrong side of the law, being that he’s so familiar with organized crime and the archetypal gangster mindset. We learn nothing of him aside from the fact that he’s clever and suspiciously insightful at predicting Dillinger’s behavior. He’s a bit sinister, and rough and streetwise in manner and dress, so perhaps the point is just that he’s not the type that J. Edgar Hoover (Billy Crudup) would consider good G-Man material: young, clean cut, college educated sorts like Hoover’s man-crush Purvis.
What do we learn of the main man himself? Dillinger was a self-created celebrity ahead of his time: media-savvy and always ready to produce a good, concise catchphrase at the drop of a hat. The most telling revelation about his character comes from a dying colleague John “Red” Hamilton (Jason Clarke), who, in his dying moments, chooses to armchair psychoanalyze his partner in crime, saying he’s unable to let anyone down. Really? When did the film illustrate this aspect of his character? All we can infer from his onscreen behavior is that he’s loyal to the woman he loves (although not so loyal that he doesn’t later go out on a date with a hooker while his girlfriend is in prison — although to psychoanalyze him ourselves, this action is probably a not-very-subconscious decision to allow himself to get caught, AKA “suicide by cop”). Just as he was able to casually stroll through his to-be captors’ offices without being caught, Dillinger is a ghost that goes through life without making any kind of impact. Neil in Heat may have had no friends, family, or even furniture, but he had a code: “Don’t let yourself get attached to anything you are not willing to walk out on in 30 seconds flat if you feel the heat around the corner.” Like Neil in Heat and Frank in Thief, Dillinger doesn’t have an exit strategy from his lifestyle until he meets a woman. Neil found love and wanted to pull a final score and then disappear forever. Dillinger wants the girl and an ongoing crime spree. Only when she is taken from him does he consider a final score to retire on.
A surprising number of name actors appear in tiny roles, including David Wenham, Lily Taylor, Leelee Sobieski, Stephen Dorff, Emilie de Ravin (from the TV series Lost) and even singer Diana Krall in a cameo. One possible explanation is that they simply wanted to work for Mann in any capacity. Or maybe their roles were larger before the editing process. One in particular that stands out is Giovanni Ribisi as Alvin Karpis, a high level fixer and organizer, sort of like the skeezy but coldly professional Nate (John Voight) in Heat.
Mann often catches a lot of flak for his typical paucity of female characters, but also for the few he does feature being rather problematic. It’s obvious that Mann is interested in stories about men (gangsters, cops, thieves, etc.). In my opinion, it doesn’t necessarily make him a misogynist if his stories don’t always feature full, richly drawn female characters. But curiously, Billie in Public Enemies may not be one of Mann’s most interesting female characters across his body of work, but she is more complexly drawn than any of the male characters in Public Enemies. We learn a little about her, certainly more than we do about anyone else, but I still don’t get why she would drop everything and run off with a gangster. Billie remains in love with Dillinger and faithful to him even when tortured and sentenced to a two-year jail term. True, she’s a young woman trapped in a dead-end job and the subject of racism (she’s part Native American). A good contrast is the character of Eady (Amy Brenneman) in Heat, whose complex relationship with the criminal Neil I found not only plausible but sadly moving. Cotillard is fine, but I think Brenneman’s touching performance as a crushingly lonely woman vulnerable to a charismatic but controlling older man really helped me understand her desire to run away. Both Eady and Billie are willing to abandon their lives, such as they are, or even implicate themselves for a man that could be arrested or killed at any moment.
The simple truth is that I hated Michael Mann’s Miami Vice on first viewing. On a technical level, it was marred by hideously poor sound reproduction — for which I blamed the particular theater I happened to see it in, but a friend of mine had the same complaint about a totally different venue, suggesting something was wrong with the prints themselves. I found the film much improved when watching the unrated director’s cut available on DVD and Blu-ray — not just sporting more audible sound but even improved fluidity in the storytelling. I don’t recall the original theatrical cut well enough to identify what may have been added, altered, extended, or rearranged, so any number of factors could have contributed to a more forgiving reappraisal: approximately five extra minutes of breathing room, better sound, and an original opinion so low there there was no way to go but up.
The film is based on the original television series of the same name that ran between 1984-1989, created by Anthony Yerkovich and produced by Mann. Its premise was famously encapsulated by Mann’s alleged two-word pitch “MTV cops” — a legend that may or may not be true but has the benefit of being right on-the-nose. Kitschy even at the time, Miami Vice drew its stylistic tendencies — and sometimes even its guest stars — from MTV. It’s a world apart from Crime Story, another Mann crime drama and an early experiment with serialized storytelling that wouldn’t really take hold until much later with Twin Peaks and The Sopranos. It ran concurrently with Miami Vice but was cancelled after only two two seasons (1986-87).
Miami Vice the movie, however, is the product of Mann the writer and director as opposed to episodic television producer and showrunner. The film is more of auteur work than the collaborative medium of a television series, and as such begs comparison with his other major films also set in the world of crime and punishment: Manhunter, Thief, Heat, Collateral, and Public Enemies. But whereas most of these presented sympathetic (or at least complex) portraits of criminals, Miami Vice is a more traditional policier firmly on the side of the good guys.
Miami Vice follows the high-stakes exploits of Sonny Crockett (Colin Farrell) and Rico Tubbs (Jamie Foxx), two Miami-Dade Police detectives in the war on drugs. The story begins in medias res, plunging the audience into an undercover operation that goes awry, followed by an effort to assist a colleague whose cover was blown while embedded in a Columbian drug running operation. This second operation is just the tip of an iceberg: FBI Agent John Fujima (CiarÃ¡n Hinds) reveals that there is a mole in the FBI. Crockett and Tubbs are deputized as federal agents for purposes of continuing the investigation.
Like typical Mann protagonists, the detectives’ jobs are the sole focus of their lives. In the DVD bonus features, a real undercover operative states how disconcerting it is to lead another life as a high roller, wearing the finest clothes and driving the best cars, but return home off duty to his family in a crappy used car. It would have been nice to see what kind of lives Crockett and Tubbs lead off duty, if any, and learn a little of what life is really like for undercover cops. Instead, we watch the entire onscreen team live, eat, and sleep together in a large unfurnished house, much like master thief Neil McCauley’s (Robert De Niro) spartan abode in Heat.
Both men become professionally compromised by their relationships with women, escalating to the point where their lives are threatened by their emotional needs. Neither looks outside their narrow work sphere for love: Tubbs is romantically involved with a colleague, and Crockett becomes mixed up with gorgeous money laundress Isabella (Gong Li). She’s dispassionate and inscrutable when we see her at work, but reveals worlds of emotion behind her eyes when alone with Crockett. Frankly, Gong Li is a little hard to understand, her character being a Chinese immigrant to Havana, requiring her to speak two languages in a film already rife with a plethora of blended accents. Justly wary of his partner’s infatuation, Tubbs warns him, “There’s undercover and then there’s which way is up.” Ignoring his partner’s advice, Crockett abets her escape from the federal sting operation, an act the movie judges as morally acceptable because he loves her.
Returning players from the Mann repertory include Domenick Lombardozzi (from Public Enemies) and Barry Shabaka Henley (the ill-fated jazz club owner in Collateral, who also appears as a parole agent in Mann’s latest TV project Luck). New additions include Eddie Marsan, perhaps one of the most versatile actors in the world, as a government informant with a thoroughly convincing Southern twang, and John Ortiz (also a lead in Luck, and don’t miss him opposite Philip Seymour Hoffman and Amy Ryan in Jack Goes Boating). His villainous character here at first seems on a par with Javier Bardem’s powerful and threatening turn in Collateral, more savvy and perceptive even than his boss Arcangel de Jesus Montoya (Luis Tosar). But he ultimately proves pathetic and weaselly — the audience’s ability to take him seriously not helped by a caricatured accent just this side of Speedy Gonzales.
Mann took the opportunity to continue his experiments with digital cinematography begun in Collateral, and many of the locations were actual. Nevertheless, the production was enormously expensive for a movie without significant CGI special effects, even though it was ultimately profitable worldwide. A significant chunk of the expense is likely attributable to Mann’s customarily deep research in the service of verisimilitude, right down to unusual speedboats and implausibly exotic (but real) types of weapons.
In “Knives Out for Michael Mann”, Kim Masters dishes the latest dirt on Mann, running a parade of anonymous, damning onset anecdotes. In particular, he was supposedly inconsiderate of the safety of the cast and crew during a shoot already made physically dangerous by everything from Hurricane Katrina to locations in gang-controlled territory. Mann may not be solely to blame, however, for Slate fingers actor Jamie Foxx for demanding higher billing and a raise after winning the Best Actor Oscar for the Ray Charles biopic Ray. He also allegedly demanded a last-minute rewrite that compromised the ending, and refused to fly to location shoots. The latter, at least, may be excusable — for The Daily Beast attributes his reasonable-sounding objection to an on-set actual shooting incident.
The score is rather disappointing for a Mann film, especially compared to the great Dead Can Dance neo-medieval soundscapes for The Insider, the Kronos Quartet dissonance in Heat, and James Newton Howard’s Mogwai-inspired post-rock score for Collateral. Jan Hammer’s iconic theme for the TV series is inexplicably absent, but there is a truly awful cover by the band Nonpoint of Phil Collins’ “In the Air Tonight”, a signature song of the original show.
Another carryover from the province of the original series is the unfortunate fashion victims. The 21st century Crockett and Tubbs are seemingly locked in competition to see who owns the shiniest suit or the silliest hairstyle (Crockett rocks a mullet and Tubbs a precision-chiselled hairline). One is seen to drive a rocket-propelled european sportscar, which is apparently not meant to be a humorous allusion to the Adam West’s 1960s Batmobile.
The film ends with a mundane final shot, very uncharacteristic for the director that ended Thief and Heat with magnificent tableaus. Crockett enters a hospital, cut to credits. I get the point: he believes love is impossible for a man in his position — he effectively imprisons his girlfriend in another kind of deep cover, all in favor of him going back to work, at his partner’s side as they check up on an injured colleague. It’s true to character, and thematically significant, but visually anticlimactic and not what we pay for when we go to see a film from such a famously exacting and stylistic filmmaker.
Martin Scorsese works almost constantly, directing documentaries between each higher-profile feature film. But the frequency of his fiction films is far enough apart for them to remain much more hotly anticipated, and every year that went by with him being passed over by the Academy Awards only more firmly established his status as a Great American Director.
Despite finally being the occasion of his long-overdue recognition by the Academy, The Departed probably won’t be ranked among his more idiosyncratic and personal films like Mean Streets, Raging Bull, and Goodfellas (not to mention his still-underappreciated films about religious faith: The Last Temptation of Christ and Kundun). The Departed is a remake of the 2002 Chinese thriller Infernal Affairs, and thus should actually be categorized alongside Scorsese’s other star-studded remake, Cape Fear. Both are undoubtedly stamped with Scorsese’s auteur touch, but still not among his most distinctively personal work.
Seeing the film for the second time, this time on the small screen, this blogger is struck by the extremely high energy and pace. Like Michael Mann’s Heat (an influence on Infernal Affairs), the story concerns the parallel narratives of a cop — or should I say “cwawp” — (Leonardo DiCaprio as Billy Costigan) and a criminal (Matt Damon as Colin Sullivan). But unlike Mann’s stately pacing, Scorsese keeps every scene remarkably short and frantically cross-cuts between the dual narratives. Were Marty and editor Thelma Schoonmaker chugging espressos in the editing suite?
One aspect of the plot I still don’t fully understand: what exactly does crime boss Frank Costello (Jack Nicholson) offer Colin to ensure such undying loyalty? It doesn’t seem enough that Frank provided minor charity to Colin’s struggling family in his youth. What does Colin really owe him?
Before the Devil Knows You’re Dead is a powerful, electric return to form for the 83 year-old Sidney Lumet, director of such canonical classics as 12 Angry Men, Serpico, Network, and, uh, The Wiz?
Kelly Masterson’s screenplay tells the high-tension tale of a pair of wholly doomed brothers as a non-linear narrative from multiple points of view. Each jump in time and POV is accompanied by a thrilling editing technique I haven’t seen anywhere else but Dennis Hopper’s Easy Rider: the current and subsequent scene ricochet back and forth in increasing speed until we’re hurtled through time into another fragment of the narrative.
The movie is full of examples of a fine director knowing how to use the form to the story’s advantage. For one example of how the composition of a shot reflects the subtext of the scene, note how that whenever Andy (Philip Seymour Hoffman) and Hank (Ethan Hawk) plot their scheme in the bar, Andy physically looms over Hank and dominates the frame with his bulk.
The acting is great all around, including a devastating turn from Albert Finney as a bitterly disappointed father, and Marisa Tomei as a woman who cast her lot with two of the worst prospects on the planet. And in case you think Hawke and Hoffman are miscast as siblings, well… just watch.
The far-reaching conspiracy story fingers the royal family, parliament, MI-5 & 6, the police, and even contemporary black power figure Michael X in a massive cover-up successfully withheld from the public for over 35 years. After being portrayed less than flatteringly in the 2006 film The Queen, the royal family is now surely even less amused with The Bank Job’s allegations against Princess Margaret.
With its clever nonlinear structure, gruff alpha-male anti-hero (Jason Statham), and untrustworthy femme fatale (Saffron Burrows), The Bank Job seems at first a solid entry into the heist genre in the tradition of Rififi, Thief, and The Italian Job. But the tone shifts as the stakes rise, to a more serious and violent don’t-trust-anyone thriller a la the Bourne trilogy.
Good ol’ Bahstuhn Cahtholick Ben Affleck is an all grown-up, big-boy director now, and lookit, he made himself a pretty decent movie. That said, Gone Baby Gone is a big plate of grim, with side order of depressing.
Affleck makes excellent use of location footage and local color. And not surprising for a movie directed by an actor (recently, Julie Delpy’s 2 Days in Paris and George Clooney’s Good Night and Good Luck), Affleck privileges the characters and performances over the plot. We also see plenty of B-roll footage of the faces and voices of Bostoners on the streets, in the bars, and on local TV screens.
Gone Baby Gone is one of the first movies to poach some of the excellent acting talent premiered in HBO’s superb series The Wire. Doubtless by accident, Michael Kenneth Williams and Amy Ryan both play characters diametrically opposed to their TV counterparts; Williams is a sardonic po-lice resolved to the corruption around him (compare and contrast with The Wire’s Omar, a parasite that feeds on the drug trade), and Ryan plays a coked-out winner of bad-mother-of-the-year, the exact opposite in every way (including accent) of her salt-of-the-earth B’more Port Authority po-lice on The Wire.
The few bad points to mention (other than the aforementioned pervasive grim tone), are Ed Harris’ inconsistent rug and a middle section papered over almost entirely by voiceover narration.