Archive for May 3, 2019

Grift to the Scaffold

Posted in FILM, literature with tags , , , , , , , , , , , , , on May 3, 2019 by dcairns

Yes — THE GRIFTERS stands up well. I was maybe a little underwhelmed in 1990, though I saw Stephen Frears do a Q&A on it and that was fun. In fact, it’s excellent. Stylistically, Frears was probably at his most assured — the opening split screen should go further, I feel, and the magnificent blocking in the hospital waiting room confrontation isn’t quite as dazzling as the way the characters prowl around each other in DANGEROUS LIAISONS, but it’s still hugely effective, and the three stars are tops.

I was very slightly sceptical of David E.’s assertion that the film presciently captures the state of America now — but I immediately noticed that, while the film opens with a quotation designed to acquaint its audience with the outdated term in the title, that term is now being slung around by both US political parties. Though I think the word GRIFT may soon be replaced by the word GRAFT, which seems really useful in today’s emulumental world.

Frears, as I recall, affected a complete disinterest in John Cusack’s previous career — “I gather he was in some sort of teenage things” — THE SURE THING, for one, is excellent, as I recall — Cusack has got IT, in the best Elinor Glyn sense of the word. Frears talked about auditioning various people for the role of Lilly, and sensing how the film would be good, but entirely different, depending on who he chose. With Sissy Spacek it would have been about class, and white trash aspiration, but with Anjelica Huston it was going to be Greek tragedy. Complete with descent into the Underworld.

He acknowledged that the last but one scene — AH descends in a Fatal Elevator — was a hommage to her recently-departed father and THE MALTESE FALCON. I can’t understand, watching it now, why the film doesn’t end on this sensational pair of shots, instead of frittering out into a routine car on road fade-out.

He talked about the horrifying oranges scene, with Pat Hingle, and how watching Huston’s devastatingly convincing pain was “one of those days when you wonder why you do this job,” because it was so distressing to watch.

Annette Bening is interesting — I think she can seem kind of phony-saccharine, but here she’s phony-sexy and it’s perfect. Fiona did question why she had to be naked so much and was the only one doing it, but I guess she’s the one who uses sex as a weapon so there’s SOME justification.

I can’t, damnit, remember any discussion of screenwriter Donald Westlake.

Cute in-joke in the signage, which references two of Westlake’s many nommes des plumes. He does quite a bit of this winking in his pseudonymous novels.

There was some chat about OA Jim Thompson and how, though he wrote about low-lifes, he was very happy to see big movie stars cast in his stuff.

Delirious from his stomach injury, Cusack hallucinates a see-through mentor — like Obi-Wan? Or maybe the reference is to the tormentingly translucent Julie London in THE GIRL CAN’T HELP IT, whose co-star Henry Jones appears in this movie.

I think maybe I expected more twists, but I was glad it didn’t try to fool us too much. I always thought HOUSE OF GAMES was an awful piece of junk, depending for its success on the audience, and the lead character, never suspecting that the con artist characters might be orchestrating a con. So really THE GRIFTERS is about character, not convoluted tricks of narrative or “big store” schemes.

I also really like the way it’s set in a contemporary 1990 world with chunky computers and everything, but manages to feel much older, 1940s maybe, without this coming across as affectation or anachronism. Very hard to do. Neo-noir is nearly impossible to do, I think, without coming off all arch. Elmer Bernstein’s score is a big part of it, as are the costumes, the dialogue, the performances…

THE GRIFTERS stars Morticia Addams; Martin Q. Blank; Supreme Intelligence; Mousie; Commissioner Gordon; Baxter Wolfe; John Ehrlichman AND Bob Woodward; Mr. Pink (uncredited); and the voice of Vincent Van Gogh.

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