Croupier (1998)

Although he doesn’t get an automatic free pass from me, film-maker Mike Hodges is someone who has done enough good work, and at least one classic, that I am always happy to give him some of my time. Croupier is a film I have been hearing praised for decades, but just never got around to seeing, and I finally kicked myself up the behind and got it watched. I’m glad I did.

Clive Owen plays Jack (although he spends a lot of time developing a personality he calls Jake), a young man who is directed towards a casino job by his father (Paul Reynolds). He shows great skill as a croupier, and hopes to earn enough money to afford him to pursue his real passion - writing. Becoming more and more intrigued by those around him, however, Jack soon starts to play with fire, but he’s not the only one who could end up being burned. There’s his partner, Marion (Gina McKee), other staff at the casino, and an intriguing gambler (Jani, played by Alex Kingston) who might not be as cool and collected as she appears.

Written by Paul Mayersberg (someone else with a filmography certainly worth exploring), Croupier is an enjoyably odd film, blending moments of grim realism with plenty of cinematic polish, delivering very familiar fare with laconic wit and a suitably wry performance from Owen. In fact, the leading man is so good in his role that many decided he would be the perfect choice for James Bond at this time. We know that Daniel Craig got the role instead, and I would argue that Owen has given us a number of other treats we would have otherwise been denied (do check out “The Knick”, if you haven’t seen it).

Hodges seems to enjoy wandering through this world, using the mirrored surfaces, security camera placement, and watchful eyes of the main character to show viewers an environment where the line between riches and ruin is about as thin as you can get. Casinos love to be busy, but their success depends on their customer base being happy to lose much more often than they win.

Owen is almost constantly assured and one step ahead of those around him. The couple of scenes that have him on the back foot are fleeting, but his inner sense of panic is easier to notice, due to any unforeseen eventuality being such a rare occurrence. It’s a fantastic performance, he feels at ease and professional when in the casino and has enough charm to keep viewers on his side as he starts to misbehave. Kingston is the other standout, and the chemistry between her and Owen is fantastic. She even does quite well with a South African accent that gives her an extra connection to our lead. McKee gets the short end of the stick, but she does okay with what she’s given, and both Kate Hardie and Nicholas Ball are familiar faces given key roles as they lead Owen’s character away from his rules and his own code of ethics. Alexander Morton is the casino boss, someone who comes across as harsh but fair, although he also seems quite naive when it comes to spotting problems/scams.

Playing out at times almost like a parody of neo-noir films, Croupier holds up well precisely because it doesn’t seem to take itself too seriously. The very end of the film mishandles things slightly, with most of the plot strands tied up in a way that feels a bit too flippant, but it mostly succeeds in doing what it set out to do. Which is a good deal more than some manage. Good deal . . . get it? Because croupiers deal cards, and . . . right, I will end things here. Before the whole review turns into a bust.

8/10

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Mubi Monday: Merry Christmas Mr. Lawrence (1983)

Arguably best remembered nowadays for the beautiful music from Ryûichi Sakamoto, Merry Christmas Mr. Lawrence is a worthy film that looks at the strained relationship between the prisoners and officers of a Japanese POW camp. It's a shame that it never feels like there's still a war raging beyond the confines of the camp but that may be more to do with the source material (it was, after all, based on a true story by Laurens van der Post) than limitations set on the film.

Tom Conti plays Col. John Lawrence, a man who finds himself favoured by the camp officers (a Sergeant played by Takeshi Kitano, billed here simply as Takeshi, and the Captain in charge of the camp, played by Sakamoto, the score composer). Col. Lawrence maintains his position by, for the most part, trying not to rock the boat as he also attempts to keep his fellow prisoners alive and well. It's a delicate balance, one that sees him frowned upon by the likes of Group Capt. Hicksley (Jack Thompson), and it's one that is upset as soon as Maj. Jack Celliers (David Bowie) arrives at the camp.

Directed by Nagisa Oshima, who also worked on the screenplay with Paul Mayersberg, Merry Christmas Mr Lawrence is a film about war that is most interested in showing viewers how every trait is heightened and warped under those conditions. Courage, cowardice, love, hate, lust, remorse, happiness, and more. The central characters deal with all of these things in a variety of ways, and we're often shown the motivation for their decisions, either in the moment or through flashbacks that explain their stubborn refusal to make life easier for themselves (in the case of Celliers).

This is a superb role for Conti, giving a fantastic performance as the typical Brit soldier who hopes to keep calm and act with a modicum of grace in the face of great brutality. The other standout turn comes from Takeshi Kitano, playing someone who at first seems irredeemable but who may be more than just your cliched sadistic camp worker. Sakamoto has more difficult material to work with, and he isn't quite up to the task (he's a better musician than actor), but Bowie does well, working effectively in some difficult scenes that benefit from the fact that the character is being played by David Bowie (and what viewers know of his established persona). Thompson does well in his small role, and there are a number of cast members who make a good impression in their limited screentime, such as Alistair Browning, James Malcolm, and Johnny Ohkura.

Those expecting something powerful and emotional may be surprised to find a coldness here. Merry Christmas Mr. Lawrence is much more about the psychological changes and damage that can be caused by war. It spends a lot of time, both subtly and more overtly, showing how the central characters affect each other, on purpose and by accident. It's almost a case study, at times, and not all of the directorial and scripting decisions work as well as they could, but there are times when it is magnificent. And a lot of those times are accompanied by that beautiful Sakamoto score.

This wouldn't make it into any kind of top list, if I had the inclination to try and rank the war movies I have seen in my life, but I am glad to have finally seen it. Bowie was the name I remembered most being associated with it, but it's Conti and Kitano who own the film.

7/10

There's a blu ray here.
Americans can get it on Criterion here.