Breaking In (1989).

Review #1492: Breaking In.

Cast:
Burt Reynolds (Ernie Mullins), Casey Siemaszko (Mike Lafeve), Lorraine Toussaint (Delphine), Sheila Kelley (Carrie / Fontaine), Albert Salmi (Johnny Scot, Poker Player), Harry Carey (Shoes, Poker Player), Maury Chaykin (Vincent Tucci, Attorney), and Stephen Tobolowsky (District Attorney) Directed by Bill Forsyth.

Review:
"There's always something you want to say. I would not want to make a film that did not say anything, I'm not interested in getting into something that's just a piece of entertainment, a James Bond or an adventure film. I don't enjoy filming that much, in fact I don't enjoy filming at all and to go through all that for the sake of money would just not interest me."
"I'm not sure if I can swagger anymore, but I can limp with the best of them."

It's easy to forget about a director when Burt Reynolds is your star in a comedy. For example, Scottish-born Bill Forsyth first got into films through an advertisement out of high school and ended up doing short documentary films for eight years, notably founding Tree Films with Charles Gormley in 1970. He wrote his scripts for That Sinking Feeling and Gregory's Girl years in advance, but attempts at getting funds did not take hold with the BFI Production Board. He forged on anyway in making the former film, doing so in 1979 on a cheap budget with actors from the Glasgow Community Theatre. Some of the actors from that film would return for his next film, Gregory's Girl (1981), which resulted in positive notices as the film he is best known for (his next film, Local Hero, also received praise), and he received a British Academy Film Award for each film (the former for screenplay and the latter for direction). This was his second and last film done in North America, with the other being Housekeeping (1987). The film was written by John Sayles (behind films such as Return of the Secaucus 7 and Eight Men Out), whose script had been laying around for a few years that Sayles did not think was something he could direct, and Forsyth updated the script. And then of course there is Burt Reynolds, the one shining reason one might pick this film out in the first place (particularly if you are sentimental towards seeing him in something that could be good). Whether the film is good or not, he remained a fascinating actor to watch be a part of the action for over five decades, with this being at the tail end of his popularity, and he took part in the film for very little money due to his interest in the character role (Forsyth had desired someone like John Mahoney for the role, but a push by Act III Communications for someone with a bit of star power eventually led him to approach Reynolds).

It's a shame that this wasn't a success with audiences on release (making less than two million dollars on a budget of over five million), because it is a decent little movie, even if it isn't exactly the most well-known film for either Forsyth or Reynolds (I happened to have come across this on the Internet and went with it on a guess, although a DVD would obviously be a better quality bet). Sometimes you just have to enjoy a shaggy dog robbery story. In a retrospective article about the film, Forsyth himself described it as "an awkward little movie. It’s not an American film and it’s not a European film; it’s ungraspable what it is." There is definately an interesting sort of tone that Forsyth takes to the material, one that doesn't really go for all of the caper cliches that come with a heist film, instead taking an approach to fleshing out two quirky people that find themselves into this certain business with their own distinct mannerisms and approach. One has probably seen the traditional old pro teaches the hotshot story before, but if one presents it with honesty, it usually works out for a decent time. There isn't anything remotely spectacular about it, but there are bits and pieces that are charming, and the main duo also helps out while also having a few little moments of heists that favor moments of dialogue over anything too explosive (which can work out for those patient for it). Siemaszko, having started appearing in films for six years with bit roles and supporting turns (such as Back to the Future) proves lively enough for the film's liking, carefree yet never lacking when on-screen with various situations of charm. Reynolds, with a hitch in his step and a quieter tone than usual, holds to the challenge quite well, still managing to capture a wise world-weary presence without needing to rely on anything hammy (the makeup on him to make him look older looks fine) that we gravitate to pretty well (of course one could gravitate to Siemaszko too, at least when it comes to brash impulse decisions) with comfort. Seeing these folks try to make a living within a strange world of compromise and duplicity makes for a careful movie, not exactly a laugh-out-loud caper, but also not too plaid for curious enjoyment. It certainly is a curious film for both Forsyth and its two stars in Reynolds and Siemaszko, and if you happen to come across it looking for something diverting, you may be fairly satisfied with what you recieve, getting a few chuckles alongside a decent time.

Overall, I give it 7 out of 10 stars.