Brooklyn’s Finest

Any legitimate ad for Antoine Fuqua’s latest film, Brooklyn’s Finest, is intent on stressing that this is the man who helmed 2001’s Oscar winner Training Day. I’m not too certain that that’s a good thing. Structural and thematic similarities could easily belie the fact that Brooklyn’s Finest is not a Training Day redux, even if the parallels are existent. Brooklyn’s Finest is concerned less with the battle between the good men and the bad men and more interested of the battle of good and evil within oneself. One the film’s most appealing elements is its lack of judgment (in the first three quarters of the film, at least). Gere’s retiring policeman, Hawke’s devoted family man and Cheadle’s undercover policeman. Of course none of the men are defined by the labels I give them; it’s in the creation of the nuanced characters – something the actors should be lauded for – that makes Brooklyn’s Finest a success.

Hawke’s Sal is a devoted family man, but this is merely one element of his tortured character. I’ve expressed my appreciation of Hawke time and time again, and he doesn’t disappoint here. Hawke is never content with acting in black and white always making for the shades of gray. I can’t refer to each of his performances as a superlative, but his work in Brooklyn’s Finest would be worthy of praise in a fair world. His moments at home (opposite Lili Taylor) are especially poignant. There’s no telling what will happen at the end of the year though, in fact I’m sure it would be forgotten. For the most part, the thin line between good and bad persists in the actions of Gere and Cheadle completing the unholy trinity. Cheadle has never been given a legitimate chance to impress since his impressive performance in Hotel Rwanda and I’ve never been impressed with the legitimacy of Gere’s classification as a good actor. However, both give excellent performances too. Gere’s is more of a slow burn, it’s not until the end we’re able to fully appreciate his technique but both men offer important shades to their characters.

What stops Brooklyn’s Finest from being truly excellent though is that as the film moves into its finale Martin seems content with doing away with  the cast (and the plot) in the most pedestrian of fashions. After having our three leading men in ruts the solution is unsatisfying and the audience is left there, waiting for an absolution that never comes. It robs the actors of the good work they’ve done so far and robs the many supporting actors giving good performances (Wesley Snipes, Will Paton, Lili Taylor, Jesse Williams, Brian O’Byrne) of any profundity. For a film that does so well in its first half, the film’s finale is done by the book. However, an array of good to excellent performances from the cast members makes this a worthy choice for viewing. Brooklyn’s Finest is not the greatest, but it’s a valiant effort from the production, and a brilliant effort from the actors.

   

B-

In the Mood For Love: Three Classics

People are always lamenting the state of romantic films – the romantic comedy in particular. Has it really gotten that bad? I can’t be sure. Perhaps, but isn’t the consensus that film isn’t as provocative. Still, I won’t lament on that situation. Instead I’m looking back to three oldies of sorts – two comedies, and a drama each centring on romance in some strange places. What makes these films important is the success each found with Oscars and other award bodies. Each won an acting Oscar in fact, not too shabby for a romance, eh?

              

My mother was a huge fan of An Officer & A Gentleman and I saw it when I was very young. Who can forget that memorable ending where Richard Gere – in one of his few performances I like – picked Debra Winger up and walked her out of that horrible place? Not me. And speaking of endings, who didn’t feel just a little misty eyed when The Goodbye Girl ended and we saw that Dreyfuss had left his guitar behind? Not me. And say what you want about Jessica Lange in Tootsie but who wasn’t cheering when she and Dustin finally hooked up? Not me. Each takes a different perspective on love, and each succeeds.

I often wonder why Marsha Mason doesn’t get more work, and then I remember than Diane Keaton, Susan Sarandon and Jessica Lange aren’t getting much work either, but I digress. Mason is a talented actress and was on quite a streak back in her day but she really shines in The Goodbye Girl. There’s a moment in the film when she buys her groceries only to have them all fall down on the sidewalk. Marsha’s reaction is always realistic and never forced. The romance between her and the wandering Dreyfuss is excellent. The premise is so simple and it never goes for the loud and obvious, but it’s the little things that make this so special. It’s the same in some ways with An Officer & A Gentleman. I always lament the fact that Debra doesn’t have an Oscar and then I always marvel that she was nominated for this. Not that the nomination wasn’t deserved. It was. But the performance is so atypical of Oscar. Debra has never been a showy actress and An Officer & A Gentleman is a film that focuses on so much more than the romance between her and Gere. The film examines so much and yet it never loses its touch as one of the better romances of the 80s. sometimes I wonder if Top Gun wasn’t trying to take a page out of their book, but let’s not go there….

Let’s go instead to Tootise. Dustin Hoffman in drag doesn’t seem like the ideal premise for a romance and this VERY light comedy doesn’t seem like an ideal Best Picture nominee. But I’d probably have given it the Oscar. Why does Tootsie work so well? I never can underestimate Jessica Lange. Her Oscar win has become hated. But I don’t care. People undervalue the difficulty of playing a romantic lead. It isn’t easier because it’s less baity and it’s more than her beauty. In a film filled with so much of the ridiculous she manages to keep the film from becoming over the top. Even if Tootsie wasn’t winning Picture I wish they’d have given Hoffman the Oscar to prevent Rain Man from getting than honour – but I digress. It’s not as excellent as his performance in The Graduate (few are) but it’s exceptional nonetheless. His comedic timing is impressive – and speaking of impressive, what of Teri Garr? Perfect in everyway in her small role I always smile to remember that she too was Oscar nominated.

 I suppose the consensus is true. Films like these aren’t made any more, but the thing is if they are made they aren’t as esteemed. Why didn’t Eternal Sunshine of the Spotless Mind get more recognition? Why did The Upside of Anger and Bandits get none? But I won’t go there. I’ll revel in the past, each of the three is on my list of favourites.. An Officer & A Gentleman appears at #56, The Goodbye Girl appears at #50 and Tootise appears at #44. But each are extra special in their own way, it’s unfair to pit them against each other. Bu I’ll ask you to, anyway. Pick a favourite? Which do you like the most?