Dan
03-17-2001, 01:41 AM
The Mexican (R)
Three stars
Hitman with a heart
The opening of "The Mexican" is so corny and so badly acted by Brad
Pitt, that I had the distinct temptation to leave. But, not wanting to spill
the Mr Pipp, I stayed around long enough to see the film turn the corner
and actually become very watchable - and, at times, even artful.
"The Mexican" is one of those rare movies that successfully walks the
tightrope between tragedy and comedy, without falling off. "Pulp
Fiction" and "Fargo" are other examples of movies that made us laugh,
while telling grisly stories. "The Mexican" is not of that quality, but it is
much better than the previews suggest.
The plot, which is only an excuse to introduce some interesting
characters, concerns a Mexican pistol, purported to hold a curse for all
who fire it. But it's also a rare antique, and thus attracts the interests of
thieves.
Brad Pitt is an incompetent Mafia employee, a funny premise diminished
by an unfunny performance. Pitt is given "one last chance" to redeem
himself - go to Mexico and retrieve the cursed pistol. He leaves his
girlfriend (Julia Roberts) behind, where she quickly is kidnapped to set
up a trade for the pistol, when it arrives.
"The Mexican" settles for bumbling comedy from Pitt, until James
Gandolfini (of "The Sopranos") arrives on screen. He's a professional
killer, assigned to kidnap Roberts - and then to kill Pitt and Roberts. In
an Oscar-worthy performance, Gandolfini gives this hitman a conscience
and a soul - both of which are occasionally disrupted by his ruthless
acts of violence. His relationship with Roberts is touching and honest -
and startling.
As the movie marches towards its conclusion, the story becomes more
intriguing. The myth of the pistol unfolds in brown-tone flashbacks -
and Gene Hackman has a cameo in the final scene to provide the fatalistic
underpinnings inside the theme. Hackman talks of how a car wreck may
be a spiritual act involving destiny. To his credit, it all seems oddly
logical.
"The Mexican" has that auteur feeling that a director's vision is
governing the film, not box office. The presence of Pitt and Roberts
allowed director Gore Verbinski to keep the dark edges on the story,
assuming moviegoers would buy tickets to a dark comedy simply to ogle
at pretty stars.
Chances are, however, that many a moviegoer will be shocked by what
they see. Gandolfini's character is not exactly macho mafiosa. And when
was the last time Gene Hackman had a walk-on part?
All of these quirks and irrationalities add up to enough to recommend
"The Mexican."
Brent Northup
Carroll College
Three stars
Hitman with a heart
The opening of "The Mexican" is so corny and so badly acted by Brad
Pitt, that I had the distinct temptation to leave. But, not wanting to spill
the Mr Pipp, I stayed around long enough to see the film turn the corner
and actually become very watchable - and, at times, even artful.
"The Mexican" is one of those rare movies that successfully walks the
tightrope between tragedy and comedy, without falling off. "Pulp
Fiction" and "Fargo" are other examples of movies that made us laugh,
while telling grisly stories. "The Mexican" is not of that quality, but it is
much better than the previews suggest.
The plot, which is only an excuse to introduce some interesting
characters, concerns a Mexican pistol, purported to hold a curse for all
who fire it. But it's also a rare antique, and thus attracts the interests of
thieves.
Brad Pitt is an incompetent Mafia employee, a funny premise diminished
by an unfunny performance. Pitt is given "one last chance" to redeem
himself - go to Mexico and retrieve the cursed pistol. He leaves his
girlfriend (Julia Roberts) behind, where she quickly is kidnapped to set
up a trade for the pistol, when it arrives.
"The Mexican" settles for bumbling comedy from Pitt, until James
Gandolfini (of "The Sopranos") arrives on screen. He's a professional
killer, assigned to kidnap Roberts - and then to kill Pitt and Roberts. In
an Oscar-worthy performance, Gandolfini gives this hitman a conscience
and a soul - both of which are occasionally disrupted by his ruthless
acts of violence. His relationship with Roberts is touching and honest -
and startling.
As the movie marches towards its conclusion, the story becomes more
intriguing. The myth of the pistol unfolds in brown-tone flashbacks -
and Gene Hackman has a cameo in the final scene to provide the fatalistic
underpinnings inside the theme. Hackman talks of how a car wreck may
be a spiritual act involving destiny. To his credit, it all seems oddly
logical.
"The Mexican" has that auteur feeling that a director's vision is
governing the film, not box office. The presence of Pitt and Roberts
allowed director Gore Verbinski to keep the dark edges on the story,
assuming moviegoers would buy tickets to a dark comedy simply to ogle
at pretty stars.
Chances are, however, that many a moviegoer will be shocked by what
they see. Gandolfini's character is not exactly macho mafiosa. And when
was the last time Gene Hackman had a walk-on part?
All of these quirks and irrationalities add up to enough to recommend
"The Mexican."
Brent Northup
Carroll College