While this isn't the first non-comedic performance from Steve Martin, Leap Of Faith was the first serious film that I saw him in and the first time that I realised there was more to the man than just his wild and crazy comedy. I was also pleasantly surprised to find that a) the film was very good and b) Martin was just as good while not mugging for the laughs.
The film is all about a fake faith healer named Jonas Nightengale (Steve Martin), who ends up having to kill time in a small town when one of his vehicles needs repaired. Always one to make the best of a bad situation, Jonas gets his people to set up the tent and start spreading the word. He knows that he can still make a fair bit of money off the locals, it might just take more effort than usual. The people aren't exactly rolling in money or good luck, as the local Sheriff (Liam Neeson) emphasises to Jonas and his colleague, Jane Larson (Debra Winger). As Jonas starts to work from his usual bag of tricks things start to happen that may prove that the trickster is being tricked or, even worse, that he's about to meet a "genuine article."
Directed by Richard Pearce and written by Janus Cercone, Leap Of Faith is solid when it comes to both the script and execution of the material, but Martin is the big draw. During the opening sequence of the film, showing his character attempting to avoid a ticket being issued (by an officer played by Troy Evans), things are not that impressive. It quickly establishes the main character and the mood of the whole thing, but Martin doesn't seem to be right for the role. That all changes, however, when he gets onto the main stage and starts working a big crowd. He slips on his role like a bright suit, dancing and shouting, responding to information being fed to him via earpiece, tricking people into thinking that he can be the person to save them from their troubles. It's grandstanding theatrics and Martin does it with the air of the assured performer that he is.
The rest of the cast give him great support, especially Winger as the number two of the operation. Meat Loaf, M. C. Gainey and Philip Seymour Hoffman have small roles as part of the crew, and do well enough, while Lolita Davidovich is a good antidote to all of the "suckers" as a local cynic just wanting to keep her crippled brother (Lukas Haas) away from anything that can grind down his spirit. Liam Neeson is sweet and swoonsome, judging by the reaction of some females, in the role of Will Braverman, the unsubtly-monikered Sheriff doing his best for the people in his town.
Leap Of Faith walks a nice path through a very grey area. It doesn't make any big assumptions about religion and people who choose to live their lives by faith, it doesn't even paint Nightengale and his crew as outright baddies. What it does is pose the interesting question: "if a fraud can make enough impact on people to create some positive change then does that mean that they're no longer a fraud, or does it even matter as long as the desired outcome is achieved?"
Jonas Nightengale admits that he's not the real deal, but he argues that he puts on a good show. A show that people can choose to pay for or not.
Leap Of Faith isn't unmissable, but it tries most of the time to put on a good show. I think it succeeds.
7/10
http://www.amazon.co.uk/Leap-Faith-DVD-Steve-Martin/dp/B0002GZACU/ref=sr_1_3?ie=UTF8&qid=1374755327&sr=8-3&keywords=leap+of+faith
Showing posts with label lolita davidovich. Show all posts
Showing posts with label lolita davidovich. Show all posts
Friday, 26 July 2013
Leap Of Faith (1992)
Labels:
comedy,
con,
debra winger,
drama,
janus cercone,
leap of faith,
liam neeson,
lolita davidovich,
lukas haas,
m.c. gainey,
meatloaf,
philip seymour hoffman,
richard pearce,
steve martin
Saturday, 27 April 2013
Dark Blue (2002)
It's April 1992. A turbulent time for Los Angeles, with all eyes watching the trial of the police officers accused in the beating of Rodney King. If those men are acquitted, the whole city might just burn. Kurt Russell stars as Eldon Perry, a policeman who was brought up by gunslingers and sees himself as a man who does a lot of things wrong to get the right results. His superior (Brendan Gleeson) agrees, he knows that whenever he wants ANY mess cleaned up he can ask Perry to get it done. Unfortunately, many other people view Perry as a monster including his wife (Lolita Davidovich), his young partner (Scott Speedman) and an officer (Ving Rhames) intent on uncovering the truth about a recent shooting incident and, in turn, corruption within the LAPD. In fact, as the movie unfolds, Perry starts to think about his own actions and how others view him. He starts to suspect that they may be right.
Written by James Ellroy and David Ayer, this is exactly the sort of thing you'd expect from the writers of L.A. Confidential and Training Day, respectively. Eldon Perry is a larger than life character, a bit of a bully and a braggart even to those he loves, and his moral compass has been thrown so far out of whack that it's unsure whether or not he can find his direction again. Ron Shelton does a great job in the director's chair, allowing for the actors to do their best with the material while he makes sure that all of the threads are winding together to complete the big finale.
Russell excels in the lead role, it's arguably his best performance from his 21st century filmography. He IS a bit of a monster and a horrible person, overall, but he's also a fully fleshed-out character with moments that show that he does have a heart (one scene with him being yelled at by Gleeson really starts to make him slightly sympathetic, while another involving Davidovich reading out a letter to him turns into something unexpectedly affecting). Speedman is okay in his role, he's young and acts naive enough and that's what's needed of him. Gleeson is superb, but Gleeson is always superb. In this movie, however, he's even more superb than usual, his performance sharpened by the gradual development of his true character. Ving Rhames, ahhhh Ving Rhames, he gives a subdued, sweet performance that reminds you of the actor who once seemed so great. Why did he ever start to take roles in every other Straight To Disc (or STD, if you will) piece of nonsense? I'll never know. Thankfully, there will always be performances like this one to look back on. Lolita Davidovich and Jonathan Banks have their supporting roles that allow them one or two moments to shine. And shine they do. Michael Michele may have the most thankless role, but she does okay with it.
Putting these characters together and seeing how things unfold makes for a solid drama. Setting everything on the brink of those 1992 L.A. riots makes for something much more. It's tense, it's incendiary and it's an unflinching reminder of just how easily corruption can insidiously filter through even the most well-meaning of people.
8/10
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Written by James Ellroy and David Ayer, this is exactly the sort of thing you'd expect from the writers of L.A. Confidential and Training Day, respectively. Eldon Perry is a larger than life character, a bit of a bully and a braggart even to those he loves, and his moral compass has been thrown so far out of whack that it's unsure whether or not he can find his direction again. Ron Shelton does a great job in the director's chair, allowing for the actors to do their best with the material while he makes sure that all of the threads are winding together to complete the big finale.
Russell excels in the lead role, it's arguably his best performance from his 21st century filmography. He IS a bit of a monster and a horrible person, overall, but he's also a fully fleshed-out character with moments that show that he does have a heart (one scene with him being yelled at by Gleeson really starts to make him slightly sympathetic, while another involving Davidovich reading out a letter to him turns into something unexpectedly affecting). Speedman is okay in his role, he's young and acts naive enough and that's what's needed of him. Gleeson is superb, but Gleeson is always superb. In this movie, however, he's even more superb than usual, his performance sharpened by the gradual development of his true character. Ving Rhames, ahhhh Ving Rhames, he gives a subdued, sweet performance that reminds you of the actor who once seemed so great. Why did he ever start to take roles in every other Straight To Disc (or STD, if you will) piece of nonsense? I'll never know. Thankfully, there will always be performances like this one to look back on. Lolita Davidovich and Jonathan Banks have their supporting roles that allow them one or two moments to shine. And shine they do. Michael Michele may have the most thankless role, but she does okay with it.
Putting these characters together and seeing how things unfold makes for a solid drama. Setting everything on the brink of those 1992 L.A. riots makes for something much more. It's tense, it's incendiary and it's an unflinching reminder of just how easily corruption can insidiously filter through even the most well-meaning of people.
8/10
If you have enjoyed this, or any other, review on the blog then do consider the following ways to show your appreciation. A subscription/follow costs nothing.
It also costs nothing to like/subscribe to the YouTube channel attached to the podcast I am part of - https://www.youtube.com/channel/UCErkxBO0xds5qd_rhjFgDmA
Or you may have a couple of quid to throw at me, in Ko-fi form - https://ko-fi.com/kevinmatthews
Or Amazon is nice at this time of year - https://www.amazon.co.uk/hz/wishlist/ls/Y1ZUCB13HLJD?ref_=wl_share
Labels:
brendan gleeson,
crime,
dark blue,
david ayer,
drama,
james ellroy,
jonathan banks,
kurt russell,
lolita davidovich,
michael michele,
ron shelton,
scott speedman,
ving rhames
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