Sometimes great movies slip into oblivion. Running
on Empty, rarely talked about, was suggested by the blog “Tipping My Fedora,” a rich source for the analysis of crime fiction books and movies. The other film, Miller’s Crossing pops up on one list or another, but it seems to
be the critics’ stepchild when it comes to the almost sainted Coen brothers,
who wrote, produced and directed the film. You are likely to hear more about Fargo, Raising Arizona or The Big
Lebowski, where the comedy is closer to the surface. Miller’s Crossing, more like my favorite Blood Simple, is darker and a more ambitious
film. But the comedy, a bit more subtle
it seems, is there and the movie is well worth the time.
Running on Empty
is a small movie, low-key and its drama is actually not the crime, not the
violence, not bringing the criminals to justice. It’s the backstory. The family is in hiding, has been for years
because of a politically motivated crime committed by the mother when she was
young and revolutionary. Her arrest
would destroy the family. But the
incessant fear and hyper vigilance as well as the constant running takes a toll
on the family. The pressure becomes almost unbearable as the oldest son must
choose between keeping the family together and having a life of his own. Few
actors can pull off the sort of vulnerability shown by the young River Phoenix — Leonardo
DiCaprio in What’s Eating Gilbert
Grape comes to mind — but this is the performance that makes the film. Judd
Hirsch, Christine Lahti and Martha Plimpton form the main cast for
this film directed by Sidney Lumet. The film was up for several Academy and
Golden Globe nominations. It was loosely
based on-real life situations.
Miller’s Crossing
is a big movie, high key and its drama is
the constant crime and violence. While I’m sure there are many who would
disagree, Miller’s Crossing is
magnificent. It is dark and deadly and crazy and unhappy. It is violent and funny and its occasional
preposterousness is entirely believable.
As luck would have it, I had just finished reading Dashiell Hammett’s Red
Harvest and found this film a reconstruction of not only that era, but also
that kind of corrupt, gritty reality that Hammett writes about, and similar in
style. The film also has a similar humor that underlies both Hammett’s much
more minimal narrative and his colorful dialogue.
Gabriel Byrne
plays the burnt-out protagonist. He has
his own code of behavior, one that befuddles those around him, but is
understandable to those who pay attention. It’s HIS code. And he doesn’t
abandon it under any circumstances. Very Hammett. Albert Finney as a tough Irish mobster is riveting. John Turturro has an emotionally
demanding role that he accommodates like the major talent he is. John Polito is, as always, the
gangster’s gangster. And J.E. Freeman plays against stereotype
and is more than notable as “the Dane,” a cold, cruel gay villain. We see the
emergence of other, eventual Coen regulars in small parts played by Steve Buscemi and Frances McDormand.
In the end, it’s a night of whiskey on the rocks. Probably Irish in honor of the dominant mafia
in Miller’s Crossing. One could sip some wine during Running on Empty or simply wait until
you get to the hard stuff for the Coen Brothers contribution to noir. Lock up your Tommy guns.
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