A masterfully made film which punches and hits directly.
This is what film is supposed to be about, by which I don't
necessarily mean the topic, but refer to the craft with which
this fine-tuned feature is made. Director Barry Levinson takes
an all-star cast and delivers a true story that captures its
audience with a heart-rending tale.
This is a story of lost innocence. Lost violently and tragically
and all too soon in the life of four young boys.
Hell's Kitchen is one of those areas in New York City where the
law used to be vigorously and strictly maintained within the
confines of the neighborhood itself. Gangsters and priests
inhabited the same world, although they operated in different
ways and with different powers. Kids would roam the city streets
and get into their own kind of trouble. That's part of growing
up in New York and it was the same for Lorenzo (Joe Perrino),
Michael (Brad Renfro), John (Geoff Wigdor), and Tommy (Jonathan
Tucker). One summer day, however, an unexpected event took place
that would start a chain reaction that changed the rest of their
lives. Bored and with nothing much to do, the kids decide to
swipe a hot-dog and wind up almost killing a man. Sentenced to
do time in an upstate N.Y. reform school, they are unaware of the
horrors that await them. Once trapped inside an institution that
offers them absolutely no protection, they are tortured, abused,
and raped repeatedly by guards under the leadership of Sean Nokes
(Kevin Bacon).
Eleven years later, John (Ron Eldard) and Tommy (Billy Crudup),
whose damaged lives have remained in downward spiral, recognize
the face of Nokes in a local restaurant and take advantage of
this moment for their long-awaited revenge. Afterwards, they are
taken into custody and the dominoes begin to fall once again.
Michael (Brad Pitt), who has become a lawyer working for the
D.A., had already begun devising a plan of revenge some years
before. Although present circumstances will call for several
revisions, the action has already begun and Michael has no
intention of turning back. Contacting Lorenzo (Jason Patric) to
ask for his help, the path toward their final personal justice
begins. Michael's plan could possibly endanger and destroy the
lives both he and Lorenzo have spent the years building up, but
their need to even the scores knows no bounds. The past and the
future collide head-on as the two main protagonists remain the
only characters fully aware of all the elements in play. The
neighborhood code must still apply if they are to carry the caper
off and close this awful and painful chapter from their past.
When Ferguson (Terry Kinney), who was one of the guards at the
school, appears in court to attest to the solid reputation of the
murdered Nokes, he is unexpectedly confronted with his own guilt
for the past. He has since moved on to a model middle-class
lifestyle as a policeman, including wife and children. He breaks
down in tears as a result of 'clever' manipulation and the
unexpected confrontation accompanied by his tortuous self-
reflection. In a film filled with engrossing and plausible
moments, this crucial scene remains unconvincing (despite
Kinney's performance) and, although it doesn't really come off as
probably intended, it also doesn't break the weave of the rest of
the film.
Superb points to the entire cast, especially Kevin Bacon, Brad
Pitt, and Jason Patric. (Kevin Bacon hasn't been as nasty as
this since his memorable portrayal in 'Forty Deuce.') Superb
points as well to the child counterparts. Although every
technical aspect has carefully been considered under director
Levinson's hand, there must unquestionably be a special mention
for Director of Photography Michael Ballhaus, whose work is
always striking on screen. Robert De Niro and Dustin Hoffman
appear in small (,but not that small) cameos which are,
naturally, set down perfectly, but which allow little room for
embellishment. (The one exception being the CU of DeNiro while
he listens to Patric's sorrowful tale of revelation, during which
time he manages to take us through the different levels and
layers of the priest, troubled and tormented by the varying
aspects and repercussions, responsibilities and resolutions
involved in this matter and any action he should take regarding
it. No mean trick.)
Beyond the sordid story of child abuse lies a strong testament
to friendship and all that entails; a beneath-the-skin impulse
between people that, although intangible, endures. True
hopelessness is only really found among the forsaken.
Our present-day world requires shocking revelations (such as
those exposed in the case involving the Belgian Dutroux) to
spread a general awareness among the public regarding the vast
expanse of child abuse. The bandwagon-jumping of the obsessive
that often result from such sudden shocks is often shallow and
accompanied only by temporary concern. Most would prefer
violent entertainment instead; you can switch that off-and-on.
Child abuse is nothing new in our world and has deserved wide-
spread attention long before now. The fact that, to cite one
example among many, several Dutch and Belgian commercial TV
stations have recently begun to bombard the screens with programs
containing related or relevant information (including classics
like 'Adam' and 'Il Ladro di Bambini') is not a testament to any
heightened social-awareness among production companies, but
rather, unfortunately, a heightened awareness of methods for
increased ratings. They still don't use milk cartons on this
side of the water; not that the statistics are any better than
the other side. The world, I fear, continues to hide skeletons
in closets, cellars, and crawl spaces. This film tries to drag
some out into the open.
© 1994-2006 The Green Hartnett
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