Homicide: The Movie Reviews
Gold tenta se esquivar da investigação, mas o chefe do distrito acha que o fato de ele ser judeu talvez ajude a polícia a transitar pela comunidade bem ortodoxa.
Na sinagoga, o rabino e a família da vítima dizem que o crime foi cometido por um grupo anti-semita. Mas à media que Bobby se aproxima mais da comunidade, percebe que eles estão escondendo algo que pode fazer tudo ruir.
But pushing aside the occasionally unnatural dialogue, the film overall does keep me immersed. His struggle to find a balance between his two cases creates for unusual tension breaks, but Mamet manages to keep us interested in both plot lines. This way we don't feel exhausted or resentful or bored when the plot changes directions.
Also, his personal growth as a Jew is actually fairly interesting to watch unfold, although we sense the whole way there's something not quite right about his journey. This suspicion makes the journey darkly engaging to watch; Mamet hints at this darkness with subtle clues along the way, until finally the main character is in well over his head. In the end we discover our suspicions were right, and he's put himself in an awful place without realizing how fast he was falling.
I'd say if you approach this film after watching many of other Mamet films, you won't be disappointed. It delivers suspense, smart lines, and good acting all the way around. I've yet to find a Mamet film that bores me. For that, I will keep renting his movies until I finish off the long list.
Though the fact that Mantegna looks so Italian may at first seem to be an impediment to the idea that the impetus for the the plot is reliant on his Jewishness, it only further underscores the possibility of a few minor instances boiling our roots in culture and society to the surface. In one of the small, great moments in film history, the hard-boiled Mantegna is humbled beyond the ability to apologize, and what first appears to be guilt is quickly revealed as unparalleled motivation.
Watching the story get more complex is most of the fun, so I can't go into too much detail, but rest assured, what lies within crosses styles in a purely refreshing manner, giving the film the buoyancy of a Scorcese crime film and the unpredictability of Lynch's best work. While it narrowly escapes a 'must-see' status, it's no less important to people who can't stand watching cookie cutter films churned out every decade.
(and Flixster, this has nothing to do with the television show Homicide: Life on the Streets...take the cast from that show off of this listing)