By Noel Vera
Dir: Gregory Hoblit (2007)
gentlemen of the jury:
I submit to
you that Gregory Hoblit's latest film isn't a crime thriller or
even legal thriller at all; one just has to see Anthony Hopkins'
Ted Crawford make his furtive way round a swimming pool, observing
his wife Jennifer (Embeth Davidtz) and her police lover Rob Nunally
(Billy Burke) in a watery clinch, to see what the picture is really
up to: a chance for Sir Hopkins to strut once more in Hannibal Lecter
is much too old for the physical demands of playing a serial killer
(the last time he did, five years ago, Brett Ratner had to cut around
the fact that he was using a stunt double much of the time).
He is also
too familiar to audiences now, is probably aware that they may be
tired - is himself probably tired - of the role. If Sir Hopkins
were to don yon hockey mask one more time, he would be laughed off
the screen; he needed a new shtick, a new way to entertain the audience.
cleverly modified part. Instead of playing a serial killer of superior
intelligence, he plays a murder suspect of superior intelligence
(keeping the man incarcerated is key, as both Jonathan Demme (who
directed him in "Silence") and Hoblit must have realized--behind
bars Hopkins is a magnetic presence, able to represent tremendous
forces in check, or great evil barely held at bay); instead of a
dewy young FBI agent for a foil, he has dewy young prosecutor Willy
Beachum (played by aptly named Ryan Gosling); instead of committing
a series of horrifying killings he commits just one, his wife's;
instead of a devilishly planned escape, a devilishly planned trial
defense--with Beachum's career prospects also put at stake as a
kind of collateral.
But if that
were the only aim of the picture, ladies and gentlemen, I would
plead mere plagiarism. As is, Hoblit and writers Daniel Pyne and
Glenn Gers fashion an amusingly intricate tale of misdirection,
where Ted Crawford lulls Beachum into thinking he has an open-and-shut
case (Crawford is arrested holding a gun and has confessed verbally
and in writing) before zinging the unsuspecting fool (it's amazing
how aeronautics engineers (Crawford seems to specialize in finding
design flaws, or structural damage) are easily able to outmaneuver
trial lawyers with a 97 per cent conviction rate).
Hoblit has gone this way before, of course; back in 1996 he directed
"Primal Fear" where an overconfident defense lawyer played by Richard
Gere walked into an interrogation cell containing a scared, neurotic
prisoner played by Edward Norton. Parallels too with the O.J. Simpson
case, where the blame is ultimately put on some unnamed, unknowable
and probably nonexistent other man.
must remember is a veteran TV director--"NYPD Blues," "LA Law,"
"Hill Street Blues" (almost a who's who of '80s television)--turned
filmmaker. He knows how to stage an efficient, effective scene,
he knows how to keep the narrative moving (in "Psycho" Alfred Hitchcock
depended on a TV crew to help move the heavily expository scenes
along swiftly), and he largely avoids the greatest sin a competent
craftsman (as opposed to a great artist) can possibly commit--be
With the help of cinematographer Kramer Morgenthau he is able to
bathe the courtroom in amber lighting, lend the corporate law offices
a seductive modern glow (This is what the law offices in Taylor
Hackford's "The Devil's Advocate" should have looked like--less
comic-book obvious, more diabolically chic), and even give us sweeping
helicopter views of what little downtown Los Angeles has managed
to accumulate that actually seem fresh, and not stock footage.
I submit that Hoblit has found his second Norton. Gosling is not
as startling a discovery - he's been noticed as far back as "Remember
the Titans" (2000) - and his role isn't as showy as Norton's, but
he's asked to slowly wake up from his smug complacency, reach down
deep into himself, and pull out a response strong enough to be pitted
against Hopkins' sly hamminess without evaporating in embarrassment.
is to let Hopkins walk all over him, again and again and again;
the tension from waiting for the tide to turn--for Gosling to deliver
Biblical comeuppance on Hopkins--becomes well nigh unbearable.
As for Hopkins--pure
hokum. But, ladies and gentlemen, I submit that the hokum is presented
without hypocrisy; this is not an important film, nor was it meant
to be, and the frankness is frankly refreshing. Hoblit plays up
Hopkins' Lecter tics, shining a light into Hopkins' eyes to give
them a reptilian glitter; posing his figure, erect and immobile,
against various dark backgrounds (one thinks of some tightly bound
golem about to burst into malevolent life); lingering over the creases
and crows' feet around the eyes to give the impression of weathered
toughness and ancient cunning--of someone whose style is to burrow
underground, undermining all who oppose him.
I submit that
the ending is overly simple, and is either telegraphed or confused
by the matter of Officer Nunally's offering a bit of manufactured
evidence of his own to help the case (by way of mitigating circumstances,
I do think it a relief that for once a thriller is resolved not
with a shootout or car chase, but with brain and wit desperately
probing for an opponent's weakness).
"Fracture," ladies and gentlemen of the jury, is no great film,
but it's a surprisingly good one, able to entertain and make full
use of its cast (and the associations they bring with them) without
insulting one's intelligence or sense of reality. I ask you to do
the right thing, and find the defendant not guilty of the crime
of boring the audience. Thank you.
First published in Businessworld, 05/18/07.
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