Cast:
Gabriel Byrne (Tom Reagan), Marcia Gay Harden (Verna Bernbaum), Albert Finney (Liam "Leo" O'Bannon), John Turturro (Bernie Bernbaum), Jon Polito (Johnny Caspar), J. E. Freeman (Eddie "the Dane"), Steve Buscemi (Mink Larouie), John McConnell (Bryan), Mike Starr (Frankie), Al Mancini (Tic-Tac), Olek Krupa (Tad), and Frances McDormand (The Mayor's Secretary) Written, Produced, and Directed by Joel and Ethan Coen (#659 - True Grit (2010), #765 - Fargo, #1063 - Blood Simple, #1517 - The Big Lebowski, and #1552 - A Serious Man)
Review:
"It doesn’t really concern me if the audience sometimes loses the thread of the plot. It’s not that important to understand who killed the Rug Daniels character, for instance. It’s far more important to feel the relationships between the characters. The question of intelligibility concerns me more, but, until now, I haven’t received any bad reactions concerning that."
It can be amazing to look upon the early part of the career of a director and see how they can synthesize entertainment with their own particular brand of craftsmanship and characters that entices one with wit and intrigue in where it all will lead by the time of its final shot. The Coen brothers certainly have done well with cultivating memorable films over the span of four decades, with a fair share of notice to accompany it depending on how it reaches them. Miller's Crossing, the third film directed, written, and produced by the Coens, was made on a budget of roughly $10-$14 million, but it did not shake the world with fervor upon release, likely owing to the fact that it was released days after Goodfellas (1990). Granted, they are not entirely similar when it comes to dealing with the gangster film genre, since this one is more of a synthesizing of the gangster and noir genre than anything - they were not so much inspired by the gangster film but rather with the gangster novel with the works of Dashiell Hammett, particularly with the novels The Glass Key and Random Harvest (incidentally, the Coens have argued it to be more closer to noir than the gangster film). Incidentally, the time it took to write such an intricate plot (roughly eight months) led to writer's block, during which the Coens were inspired to write what became their next feature with Barton Fink the following year.
It sure is a puzzle with a dazzling look to go with it. It is a series of contradictions and machinations, whether that means a struggle for ethics in illicit activities or various angles for all but the one that matters (i.e. the man who takes more blows than a sunken ship). In short, it moves like the breeze on a fedora in a forest (that particular image spurred the idea for the film). They wanted to make a film with a jigsaw puzzle in the background as a plot that makes one focus on the momentum of the folks inhabiting a "dirty town movie". The 115 minute run-time moves with the shift of a long con that can go for humor alongside curiosity but also melancholy, which is naturally aided by its soundtrack by Carter Burwell and look (shot but not exactly set in New Orleans - this was the third and final film that Barry Sonnenfeld shot for the Coens). It's a journey with various twists that goes with such a visual and complex punch that has a rhythm of greatness that always keeps itself a step ahead of the viewer without shaking them down for it. There are a variety of memorable presences, all of which spring down from its primary man of inscrutable charm in Byrne, who actually had to lobby with the Coens to keep his native Irish accent for the film (The Irish accent would also be done by the British-born Finney). He protrudes icy confidence with reasonable edge, one that can take a hit or an angle without ever striking a false note throughout all the layers. He weaves his way through a rough and tumble rat-a-tat kind of film with the sense of a lead presence taken from 50 years prior (such as a Bogart) but without the sense of being duped into watching an impersonation, which works with scenes that revolve around banter with Harden to moments spent in counsel with Finney. This was the first major role for Harden, who had a few roles on television and stage prior to this feature - she does well here, fitting the screen well in sultry jaded charm (in a sea of gangsters and molls, who expects anything less?) that keeps in motion with Byrne in clear-cut noir interest. Finney was a last-minute casting choice, as Trey Wilson died just before shooting was to begin. Who knows how it would have worked out with Wilson, but one sees Finney right at home with this role, one that is sprinkled through the film with great character role presence in wry intrigue. He has likely the best scene in the whole film, involving him in a shoot-out while "Danny Boy" (sung by Irish tenor Frank Patterson) plays in the background to a constant pulpy hail of gunfire. This was the first collaboration between the Coens and numerous actors that they have worked with in various films, such as Polito (5 in total), Turturro (4 in total), and Buscemi (5 in total). Each are memorable in their own way, such as Turturro and his rambling cover of hustling, which naturally sticks with one in scenes dealing with guns in a forest or in a dark house. Polito (who was actually approached to play the Dane but insisted on reading for Caspar) proves his own among a talented group of ethically challenged folks that try to avoid (or give) the high hat. Buscemi may have just one scene, but he sure talks his way into it (and webbing of the plot) with worthy ease. Freeman finishes the job with worthy smarm required of a second man in a film full of triangles between folks. What we have is a film that moves on its own plotting, detailed in its style with intricate care that will leave one curious by the time of its climax and its last fateful scene in the trees. It is the kind of noir that fits like a glove with others of its ilk in one category: it merits more than one viewing in a positive way, where one wants to follow along with the webbing of its story and characters through and through, because it looks and feels so good to do so. It may not have been the proper respect it deserved three decades ago, but it surely has found a place in worthy entertainment in the noir and gangster genres that one should be looked upon with great interest in the progression of the Coens in their execution of story and style.
Overall, I give it 10 out of 10 stars.
Review #1495: Darkman.
