by Michael Drakulich

Who has played the real trick here?

Steven Spielberg's latest film "Catch Me If You Can" is about a young man in the late 1960s who cons his way into forging about $4 million in checks while posing as a pilot, doctor and lawyer.

But it's Spielberg who pulls the con by leading us down a familiar path only to rip the rug out from under us.

For the casual filmgoer, this is a film with potentially serious content but treats it rather lightly.

For Spielberg devotees, it's a variation on a familiar theme.

As the film progresses, the lead character becomes a Spielberg archetype; a lost boy in search of a mentor or parental nurturing.

High school-aged Frank Abagnale, Jr. (Leonardo DiCaprio) witnesses the dissolution of his parents' marriage, which is not in itself unique, but the idealism and romance of their courtship has been drummed into Frank Jr.'s consciousness.

The break up proves too much for young Frank so he asserts himself as the family's new and more capable bread winner. He scams his way into enough money, ideally, to save his financially troubled father (played by Christopher Walken)so his parents can get back together.

He begins by posing as a Pan Am pilot and manages to forge checks as if they were the airline's payroll.

His penchant for trickery will take him to Atlanta where he poses as a doctor, then to Louisiana where he manages to pass the bar and become a prosecutor.

Once the check forgeries are detected, FBI agent Carl Hanratty (Tom Hanks) is put in charge of catching the mysterious man behind them. The story then becomes a case of how long Abagnale can stay ahead of Hanratty.

For Frank, the thrill of the chase replaces his Robin Hood sense of altruism. The longer Abagnale keeps the adventure going, the further his father falls in his eyes and the more distant they become.

In steps Hanratty as a potential mentor. Frank periodically calls him on the phone, not to taunt, but out of loneliness and longing for some meaningful human contact. The two develop a mutual respect and somewhat of an odd affection for each other. As the years pass, it's Hanratty whom Frank calls on Christmas, not his own family.

A young boy's search for affection in his parents' absence can be found in some of Spielberg's previous films, notably "A.I. Artificial Intelligence," "Empire of the Sun," to a certain extent "Saving Private Ryan," and most surely "E.T."

The director's seemingly paternal affection for his child characters allows them to find some or all of what they seek.

But here, it's not the case. I won't reveal what happens, but ater setting us up as he has in the past, Spielberg suddenly changes course as if he's the one being chased.

To the rest not as familiar with the drector's career, the film stands out as another chance to cheer for the underdog.

Abagnale is not a malicious villain. There isn't a trail fo bodies in his wake. He's a misguided kid taking advantage of his guile and charm.

We watch him in rapt fascination because he appeals to the bad boy in us. With each con, there is a side to us that wants to pump our fist in the air and shout "Yes!" while wishing we would have been shrewd enough to have thought and done the same thing.

Michael Drakulich is a member of the Chicago Film Critics Association. He may be reached at mdrakulich@starnewspapers.com