Friday, November 23, 2007
The Well-Tempered Poitier: Thanksgiving with AMERICAN GANGSTER
After thanksgiving dinner with all the trimmings, then meeting a friend to watch AMERICAN GANGSTER later that night at the cinema, I come home feeling the need to scrub America off me with a wire brush. Russell Crowe's honest cop is the descendant of SERPICO, Popeye Doyle and Travis in TAXI DRIVER. They're janitors in a sewer with a mop and pail, and they're the only ones clean. They're obsessive-compulsive that way, the rest of the world has to suffer and get saved, grudgingly, by these control freaks. We keep hoping Denzel Washington's gangster will start sass-talking like Harvey Keitel (Sport, the pimpest!), but Denzel prefers to stay emotionless, in a suit with lapels too thin that's way too chalky gray for the era, a representative of 00's corporate culture returned through time to buy up as much cheap pre-Giuliani real estate as the traffic will allow, sneering at the hideous polyester knits around him as he goes. Denzel bitch-slaps his underlings when they try to pimp up their outerwear, but he seldom bothers to correct them when they slip out of time (the film is set between 1968-1973) and use black lingo that didn't exit until Run DMC coined it in the late 1980's. Ridley's writers should've listened close to Lightnin' Rod's Hustler's Convention while writing the dialogue, instead of Eminem.
Another problem is that Ridley Scott and co. don't trust the audience's attention span: so much money is thrown at the screen that you hope they're planning a future extended cut to run about 34 hours. A whole trip to Vietnam and back--replete with massive poppy fields and decadent US-occupied Saigon streets--whisks by in perhaps five minutes. You feel for the hundreds of extras, slaving day after day, topless, over white powder while Ridley stomps around and changes his mind, and then their scene is cut down to a single minute. We don't get to know anything tangible about any of the vast cast of characters, except grandma likes money. They're even worse than unknown; they're cliches out of time.
Crowe as the One Good Cop is a composite of 70's antiheroes and to his credit, actually seems to from and in the decade, but Denzel is a composite only of past Denzel, more at the well-dressed end of the spectrum, which means early 00s. But if he thought he could play his psychological hand close-to-the-vest hand, the way say, Pacino was allowed to do in THE GODFATHER II, and have it work, he was mistaken. Coppola knew when his actors were doing interesting stuff, and he trusted the audience to stay with it (or was that Robert Evans?) But now, instead of the colorful method acting at the Corleone table we get the relentless second-guessing of Ridley, who whittles things down in the editing room until there's nothing left but little actions from different eras, each with a complete new costume change and lens filter. More than anything, what Ridley has wrought is the home shopping network of bling: Scott throws open the closets of yesterday's rich and infamous, and when it all starts to get tiresome, he takes and expensive fur coat and hurls it on the fire. Did Ridley really burn that expensive ass coat? And does it matter, since that day's shooting's catering bill was probably more expensive than a dozen such garments?
Many are my maddening questions. Robert Evans is not on the producer's list and too bad, because he would have made Ridley throw on the brakes, and maybe even try for some original touches rather than ratcheting together FRENCH CONNECTION/SERPICO gritty momentum and the sort of insecure crosscutting that worked in the GODFATHERs but showed to be a real bad habit for Coppola in every film since (Gregory Hines tap dancing as gangsters are killed outside in COTTON CLUB? Why? Even then it was cliche to say that's cliched). Like Coppola, Ridley's got the "second-guess" disease, like the sort of nervous mother-in-law that plans every last drop of life out of her daughter's wedding. He can't just have a big sting operation with micro-second cross-cuts between the cops in the hall, the crack factory workers inside, gunsels, and so forth, it has to go down right as the head bad guy is at church, ala GODFATHER II, and there has to be a baby bouncing a ball in the tenement hallway right where the shooting's about to start. Surely Scott could've spliced in a sexy wife tossing and turning in bed, waking up with the premonition something bad's about to happen? And maybe a scene of hunters about to shoot down a high-flying hawk? And the old lady having a heart attack, and thee ambulance coming in slow motion? Come on, Ridley, you're getting lazy!
I wouldn't mind if this was a result of giddy fanboy homage to POTEMKIN and INTOLERANCE as it was once with De Palma, but now I accuse them all of bowing down to a corporate "memo" mentality. No one wants to stick their neck out, so everything is groupthink, and in the end, no one has any faith in any one single moment in the film, or in Ridley's case, no faith that it doesn't need to be any better, that as Howard Hawks famously said, a good movie should have a few great scenes and no bad ones.
The way every scene--except maybe big Oscar-bait moments with momma schooling her errant son--are cut before they're allowed to develop organically, in an original direction. Instead every bit, every shot, has to have been proven in past classics. Ditto for Denzel and his white co-star duelist, now a thanksgiving tradition - wasn't last year the tangle with Clive Owen in INSIDE MAN? And before that little Ethan Hawke in TRAINING DAY? Ridley's version is careful to include nearly everything that worked from both those movies this time around. Temptation of a cop with easy money? Check! Hot Latina babe as the spouse? Check! Dog, leopard, cuckatoo, or other pet? Check, mate!
Washington's interest in this sort of rote-a-role is understandable, as it's a well-respected course around which he can outrace the white man and not piss off the red state box office. As history records, a black actor with excessive pride and intellect as opposed to mere posture and dignity can create big waves; Washington is the waviest since Paul Robeson and he knows it. He even invites the spirit of Robeson into him for key moments, but is careful not to overdo it, to not step out of the careful blocking for the shot and call it like it is. In that, Ridley Scott is the perfect Thanksgiving director, hurtling through the action like he's racing to catch his plane, making silent eye contact to the rest of his immediate family scattered along the table and silently mouthing "ten minutes," rattling off stolen SOPRANOS bits as he goes, cross-cutting between any church and street scenes he can match, tinting everything this way and that, and then syncing everything to the cutting rhythm of THE BOURNE ULTIMATUM. Ridley keeps an eye on the stove and lifts Denzel off the burner the second he starts to blacken.
Crowe on the other hand is the opposite to Washington's tailored-out-of-time look; Crowe makes himself all mangy and disrespectful, punchy and greased-up -- and thus he is all the more kingly. He's the legit patriarch, a pitbull's jaw of a man. Denzel's gangster has to keep stockpiling the long green or else he's simply a cipher, but Crowe stays Crowe. He's a man's man actor, a person who in real life you can tell has faced himself in the mirror; he's had drinking contests with his inner demons; he's earned the right to be a stand-up guy who can look the world in the eye. In that he's the closest thing we have to Bogart or John Wayne. In TRAINING DAY, Denzel proved he could access some of that same sort of noble power, but there he was the bad guy so it was okay to "be" bigger than life; when propped into a "man of the people" he keeps trying add some well-tempered Poitier and it just seems to stall his development as Denzel the persona, whomever that may be. Poitier could roar when need be. "They call me Mister Pibbs" is justifiably legendary. It cut way higher than average. Denzel plays the coiled serpent so long he forgets the coiled serpent is supposed to rattle and strike occasionally.
Like CATCH ME IF YOU CAN, another holiday film about crooks and the cops who love them, AMERICAN GANGSTER presents two main characters who are fearless and therefore somewhat uninvolving; their bravery has no merit as there is nothing to overcome. We don't see the inner fire that makes Washington so calm about carrying hundreds of thousands of dollars into the jungles at the height of the Vietnam war or shooting a rival in broad daylight on the Harlem streets and then going back to his breakfast. Instead of the air of a coiled panther, Denzel has the air only of a man who has already read the script of his own life, already seen the GODFATHER, twice, not to mention SCARFACE, GOODFELLAS, BLOW and even MASTERS OF WAR. When he first sees the tall Latina hottie in the foyeur even he knows that in three brief courtship-spanning edits, she will be drinking champagne with him in the evening sun on some exotic beach, and in another two cuts, married or in bed or both. When life is this certain, why even break a sweat?
There are good things about AMERICAN GANGSTER, mostly what it chooses to leave out: unlike earlier versions of this true story, such as Larry Cohen's blaxploitation-era hit, BLACK CEASER, or the recent rap-centric gangster films too numerous to mention, there are only a handful of cliche'd pop songs used as shorthand to indicate time and place tropes in the film. And until Vin Diesel resurfaces, I'm nominating Josh Brolin as the coolest up and comer tough guy actor around. His sleazy cop on the take is a beam of unprocessed realness- he can stretch out the seconds he's on screen in such a way that he can relax and convey great comfort in the stress he causes others. That's something that comes from him, Josh Brolin, not from a focus group, three rounds of memos, second-guesswork, and a cliche handbook. Brolin just has something unique, something he was allowed to radiate and may not even know consciously he was doing, something I might not even notice next time I see this film. Lucky Ridley didn't notice it, or he would have probably felt the urge to call attention to it more, until it was as stale as hearing "All Along the Watchtower" over a montage of 60s imagery and a voiceover talking about "a time when anything went.. and often did."
Maybe what these Hollywood types need is to be able to smoke cigarettes in their offices again, smoke pot and take LSD and listen to the rest of Electric Ladyland, not just the focus group-sanctioned hits. Am I the only one who sees the parallel between the bans on smoking and the overall decline in American intelligence? In the 1970s people were still smoking in the doctor's waiting room. There were ashtrays in the grocery stores. Now we have our health, but at what cost? We've lost that loving, intellectual feeling. We've lost faith in our fellow man's ability to perceive the obvious. Instead of learning guitar, we're playing GUITAR HERO. Instead of dancing in the fires of creation and destruction, we're recycling... and recycling... until the slightest expression of originality sounds like the threatening cries of the heretic.