Talk about your white trash! And I don't only mean them two
sleazy boys in this here film. There's something slightly amiss
in what could have been an interesting and gutsy analysis of race
relations in the America. Samuel L. Jackson is cast in the role
of Carl Lee Haily in an attempt to give this film some black
credibility, but nevertheless it remains a white man's vision of
Dixie and it's unresolved difficulties between races. Wherein
the problem lies is a puzzle to me. Perhaps John Grisham, writer
of the best-selling novel, scenarist Akiva Goldsman and director
Joel Schumacher felt so secure about the success of their last
cinematic collaboration, The Client, that they let the deeper
issues insinuated by many topics here at hand disappear too
easily into a neatly constructed plot line. One is supposed to
notice a racially charged atmosphere, but all there seems to be
on screen is the pretence of one.
Jackson plays a Mississippi factory worker whose ten-year-old
daughter is brutally raped and left for dead. This does not make
for good relations no matter who you are. The incensed father,
in an effort to make sure that justice will be done, despite a
system suspect for its prejudices, shoots and kills the men in
order to avenge his daughter's violent loss of innocence. This
is no way to kill a mockingbird. And so, a young and
inexperienced lawyer named Jake Brigance (Matthew McConaughey) is
called in to defend the Afro-American father. Of course, he'll
have to keep on his toes to do battle in court against the
ruthless and ambitious prosecutor Rufus Buckley (Kevin Spacey).
Whenever he becomes disillusioned, however, he can always get a
moral boost by calling upon the advice of ex-mentor, ex-attorney,
and alcoholic Lucien Wilbanks (Donald Sutherland).
Freddie Cobb (Kiefer Sutherland) gets so riled up about his
brother's death that he decides to call on the KKK for some
assistance. After all, he was one of the family, even if he did
rape a child. (Kiefer Sutherland certainly has a nastier pair of
lips than his father when they curl up in mindless hatred.) The
Klan gets up to all sorts of nasty, vicious, and dreadful things,
just like in the good old days, and this brings out civil rights
activists carrying placards around in protest. These events take
their toll on young lawyer Jake's private life, who must go it
alone when his wife and daughter run off to safety. Danger looms
everywhere and even the family dog can't sure of what tomorrow
will bring.
In a hopeless attempt to manipulate audience sympathies, it
brings along a lot of mush. Predictable and old-fashioned, these
techniques don't wash as well as they used to. Some of them, in
the past, might have been grouped together with titles in the
teaser, using such phrases as 'SEE: a debarred, alcoholic
lawyer enter the courtroom to hear the closing statement,
although he swore never to enter a courtroom again. SEE: a
black woman slap a Klan member in the face. SEE: the young and
hopeful lawyer whose family values are so solid he never yields
to hanky-panky with his brilliant and attractive assistant. SEE:
the family look on while the father who sought retribution is
taken away. SEE: the bad cop get justice. SEE: the daughter
on the courthouse lawn. SEE: the symbolic mixed picnic.' Most
memorable of all, perhaps, is the desolate, disillusioned picture
of Jake sitting atop a smoldering homestead, distraught at the
loss of his dog. Once we see this scene, we know all that is to
follow. And it takes some time to get there. So much time, in
fact, that even some of the characters seem to forget things. It
is an odd revelation, indeed, when Jake's wife returns, in what
assumably is meant to be a moment of reunion and communion, to
tell her husband that she realizes his actions have not been
motivated by his ambition or hunger for fame, but by the reasons
he had already told her at the beginning of the film.
This movie seems to have been crafted as a vehicle for the
creation of a new star. Matthew McConaughey has suddenly had
his face (and body) plastered on the cover of most American
magazines and you can't beat that for speedy hype. Many compare
him to Paul Newman and this comparison cannot be denied,
especially since it seems to manifest itself in the attractive
smile, the protruding cheekbones, the intense brow line and the
thoughtful open lips as well as the winsome approach. Caught in
the proper angle or profile even his nose appears smaller in a
Newman kind of way. Yet there is also something of Sean Penn in
all this facial appeal. He reacts like Newman, walks like
Newman, and even smokes his cigar like Newman, almost
deliberately, throughout the first third of the film, firmly
establishing this parallel. All of this, tacked on to a
thoroughly competent performance, makes one wonder what he will
be like in his next film and if we will ever get to see what
McConaughey himself is really like. Perhaps he really is like
Paul Newman. On the other hand, perhaps it's just the long, hot
summer of the South that brought these characteristics out in the
Texan.
First catching eyes for his work in Dazed and Confused,
McConaughey has already worked with such notables as John Sayles
and Herbert Ross. Schumacher makes the most of his new star's
talents on screen to show that he thinks Matthew's the best thing
since nipples on a bat outfit. Originally cast as one of the
rapists, he wasn't one to shy from an open opportunity and told
Schumacher that he was the right one to play the role of Jake.
Warner already has McConaughey hog-tied up with a three-film
contract, but Universal and Fox are chomping at the bits. Firmly
embedded in the studio's mind, the press's mind and, to a large
extent, the public's mind as STAR in capital letters, the final
talent test may well be his performance opposite Jodie Foster in
Carl Sagan's Contact (directed by Robert Zemeckis).
But back to the film at hand. The defense attorney's closing
statement in court is a tough monologue to do and not written
well, but McConaughey musters up determination and manages to get
through it. That alone is an acting feat. Would the judge have
allowed this closing statement, considering that he previously
alerted everyone that this was not a rape trial and was not to be
treated as one? Nevertheless, the new male sex symbol appears to
have a lot on the ball and seems capable of going the full yard.
As he himself says, 'Wherever the ball lies, you've got to hit
it. You've got to create your shot ... There's a feeling you can
get when you hit the ball on the screws and you don't even feel
it on the club. It's so pure. It's about precision. It's about
the gut. It's about the head. It's very internal, but at the
same time you can get aggressive.' Sounds good. Looks good.
Let's wait for the final count.
Sandra Bullock appears sporadically throughout the film as Ellen
Roark, the clever, adept law student and daughter of a well-known
New England legal wizard, lending support where it might not
otherwise be found (,and at the right price). Superb Points for
Patrick McGoohan who makes the most of every moment at his
disposal in creating a very convincing Judge Noose out of what
could have been a thankless role. Brenda Fricker (who plays
Jake's secretary Ethel Twitty) is always a joy to see.
Ultimately, Grisham must be the one held accountable for this
film being either good or bad. He had script approval, director
approval, and casting approval on leading roles, as well as being
a co-producer. This movie was based upon his first novel which
he admits will always be special to him. He says, 'It really
came from the heart ... It's very autobiographical. That's why I
held on to it for so long. I wanted to make sure I had some
input into it.' He further adds that in the final result he
finds 'a film that captures all the energy, passion, rage and
emotion that I hoped to convey in my book.' Perhaps it was too
close for comfort.
© 1994-2006 The Green Hartnett
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