Ok, so it's something of an anomoly here at Lights Out to see a movie review. The bottom line is, we usually just don't do them. We review DVDs, but that's about it as far as the reviews go. But today, after letting Sam Mendes follow-up to American Beauty fully sink in, I feel compelled to write a review.
A lot of people are comparing this movie to both Gangster and Mafia movies of old. I'm not going to do that. Sure, the movie is set in 1931, and it involves portrayals of a bunch of real life gangsters (even if some of the names have been changed). But don't let that fool you. This is the story of a father and his son. It's about a distance that has been between them, and the finding of a common ground. It's about the unconditional love of a parent, even in the most extreme of circumstances. It's about the need for heroes in a child's life, and the need for sanity in a parent's. If you take all of these themes, place them in a setting involving gangsters, and then compare the film to gangster movies, you're doing the film a disservice.
One of the true joys of this film is to see Tom Hanks and Paul Newman on the screen together. At 77, Newman still commands the screen like no other actor. Even with the most subtle of performances, you gravitate to him. His power is palpable. And Hanks just proves once again why he is the best actor working today. The early buzz of this film was the siple fact that Hanks was breaking his nice-guy image and playing a darker role. Yes, this is true, but Hanks plays Michael Sullivan not as a villian, but as a man who does horrible things. Let me explain. There is nothing evil about Michael Sullivan. He does what he does because it puts food on his table, and because he's loyal. He has no inner need to kill, there are no demons haunting him. He knows what he does is wrong, but he does what he has to do, like millions of parents do every day. Hanks has that ability to take a killer and make him a human being, and more importantly, a father. And he does this without making Michael Sullivan soft. To me, his performance was so subtle, so understated, that I feel it was the best one he's given to date. Amazing work, and I'll add to the fire by saying yes, it was, hands down, Oscar worthy.
Sam Mendes is a filmmaker in love with the process of making film. He's the rarity in modern Hollywood... he takes his time. Every single shot in this film (that's no exaggeration) is not only well thought out, but it's important and beautiful. Conrad Hall's cinematography is one of the most gorgeous pieces of work I have ever seen put onto film. Just look at the placement of a bead of sweat that runs down Tom Hanks' face as he's sitting in diner talking to Jude Law's character. Unbelievable.
This is a movie I will carry with me my entire life. You know those movies that you think about whenever the subject of movies comes up? Those amazing works that made you fall in love with movies in the first place? This is going to be that movie for so many people. There are already scenes, and snippets of dialogue, burned into my mind. They will play there for the rest of my life, along with all of the other scenes that have in some way touched me. In 30 years, when some montage of shots from "Hollywood Classics" is rolling across a television or screen somewhere, there will be bits from this in it:
Paul Newman's eyes, radiating power, yet filled with tears.
Tom Hanks, smoking tommy gun in hand, walking through a torrential downpour.
Jude Law's maniacal eyes as his head slowly tilts, filling the entire screen.
The moments are just so many, and just too good. Go see this film. Let it envelope you. Let Hanks and Law and Newman work their magic. They own the screen. Let an amazing story fill your mind, even for 2 short hours. And by all means, don't let anyone tell you this is just another gangster flick.
Comments & Responses
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ByB. Alan Orange & Bag (with Bill Dooku) ( Warning: Agent Orange's review's are rated R ) "Tom's profile has been burned into my psyche. Seeing him with that obvious, rubber adhesive stuck to his face jarred me out of my seat. I expected him to belt out, "I limp to the side like my legs are broken," right before breaking into the Humpty Dance. I left the theater wondering out loud...What the f*ck was Mendes trying to do? Make Dick Tracy 2?
"
"...from start to finish, a spectacular filmmaking effort by everyone involved.
" ByKatherine Brodsky
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