They Call Him the Working Man

In 2002, writer/director Brian De Palma once again put pen to paper and created another one of his unique homages to classic cinema (the first in ten years). Titled Femme Fatale, the director lets us follow his own take on the legendary film noir bad girls of old.

Some of you may recall a movie being released back in 2004 called Cellular starring Kim Basinger. The phone-based action crime thriller is a highly entertaining movie that demonstrates how quickly things have changed over a ten year period. Firstly, the cell phones in the film are much less sophisticated compared to today’s technology. But more interestingly, the motion picture also stars a young Chris Evans – who shortly thereafter landed the role of Johnny Storm in the Fantastic Four franchise and later the part of Captain America in the Marvel films. We also see a small glimpse of the relatively unknown Jessica Biel, who is now quite famous. Likewise, it was a watershed moment for Jason Statham, as it was one of his first roles in an American film. Add in appearances from William H. Macy, who is receiving rave reviews for his role in the televison show Shameless, and character actor Noah Emmerich (The Truman Show, tv show The Americans), and you have a pretty impressive cast by today’s standards.

I think it is finally safe to say that spring is in the air. For me, this time of year brings to mind two things in the realm of sports: the NHL playoffs and the beginning of the golf season. I was lucky enough to run into John Lu at a Montreal Canadiens game recently and we started to talk movies. Lu, who reports on all things sports in Montreal, Habs and beyond, for TSN, was quick to name a classic sports film – Caddyshack, as his favourite comedy of all-time. For him, it was the superb cast and their talents at improvising that placed this movie a notch above the rest.

Most scripts and movies are formed in one complete package, focusing on continuity, flow and character development as well as a definite beginning, middle and end. Yet some films are formed out of something different – a single shot, concept or idea that one then develops a picture around. It does not always work, but when it does, it is cinematic gold. This is the case for the 1955 French crime caper Rififi (originally titled Du Rififi Chez Les Hommes).

Before I refer to the main title, I must first announce that long-time character actor James Rebhorn passed away last week at the age of 65. Though perhaps not a household name, the tall balding man (who looked the same age for as long as I can remember) will surely be missed, as he played small yet memorable roles for more than 30 years.