Richard Gere

Brooklyn’s Finest

2010

Overture Films

Directed by Antoine Fuqua

Produced  by Basil Iwanyk, John Langley, John Thompson and Elie Cohn

Written by Michael C. Martin

It struck me even back then as somewhat unusual and even slightly humorous  that the two police/crime movies to hit theaters that year were actually throwbacks.  “Cop Out” is a homage to The 1980’s Buddy Cop Movie.  If you’ve seen “Lethal Weapon” “The Last Boy Scout” “Bulletproof” “Bad Boys” “Money Train” or “Running Scared” then you’ll know what I’m talking about.

BROOKLYN’S FINEST reminded me a lot of an old school cop movie from the 70’s or 80’s.  Amped up with a lot more violence, drug use and sex but still, it’s a throwback to an era when directors, writers and actors weren’t afraid to make their characters unlikable and unsympathetic.  Many of the characters in BROOKLYN’S FINEST do some pretty reprehensible things.  Including the three police officers the movie follows as they walk a moral tightrope that threatens to break under them every day.

Eddie Dugan (Richard Gere) has been a beat cop for twenty-two years and he’s down to his last seven days before retirement.  He has no family, no future and no desire to do anything more than ride out those last seven days as quietly as possible.  The last thing he needs or wants is to be given an ambitious rookie to train.  But his commanding officer appeals to his last crumb of pride; “Don’t you want your last week to mean something?”

Detective Sal Procida (Ethan Hawke) needs money and a lot of it.  He’s got a too small house full of kids and his wife (Lili Taylor) is pregnant with twins.  On top of that, her lungs are clogged with wood mold that aggravates her asthma and jeopardizes the health of their unborn children.  Sal heads up drug raids on crack houses where the bathtubs are full of money and he’s been helping himself here and there.  But it’s not enough.  The bills are piling up and there’s this brand new house he needs a down payment for.

Clarence Butler (Don Cheadle) aka ‘Tango’ is an extremely successful undercover detective.  He’s been working the drug trade in Brownsville and is best friends with Casanova Phillips (Wesley Snipes) one of the most powerful and successful drug lords in Brooklyn.  Tango, despite all his instincts and training has developed a real friendship with Casanova.  A friendship that means nothing to his boss Lt. Hobarts (Will Patton) and an ambitious Federal Agent (Ellen Barkin).  They want Tango to set up Casanova for a federal bust.  It means a way out of the undercover game for Tango.  A game that has already cost Tango his marriage and threatens his sanity, not to mention his life as Casanova has suspicions there’s a snitch in his camp.

Sounds like a hell of a thriller, doesn’t it?  Well, I hate to be the one to tell you this but while it is entertaining enough; BROOKLYN’S FINEST isn’t exactly the home run you would think it would be from the cast and director.  Remember that Antoine Fuqua is the director who gave us “Training Day” which really did put a new spin on the cop movie genre.   But while watching BROOKLYN’S FINEST I got the distinct feeling of ‘been there, done that’.  The influences of movies such as “Deep Cover” “New Jack City” “Cop” and “Report To The Commissioner” run through the movie.  Not that that’s a bad thing.  Not at all.  But it’s just that there’s nothing ambitious about BROOKLYN’S FINEST and no attempt to bring anything new to this familiar story of When Good Cops Go Bad.

One of the major flaws is that I never got the sense I was watching one cohesive story.  The three cops all work in the same precinct but never interact except for one blink-and-you’ll-miss-it exchange between Dugan and Procida.  And there’s a brief scene where Dugan and Tango literally bump into each other and that’s it.  The movie is constantly bouncing between the three stories and quite honestly, the Dugan story sucks the life out of the other two.  Every time we cut to Dugan the pacing and energy of the movie slowly dials down and when we get back to Tango’s story or Sal’s story, director Antoine Fuqua has to work twice as hard to regain that momentum back.

The acting is as good as you would expect from the cast.  Wesley Snipes and Don Cheadle are so good on screen together and their scenes snap, crackle and pop so much that you’ll wish the movie had been more about them.  Cheadle also has some great scenes with Ellen Barkin as Federal Agent Smith.  Barkin goes toe-to-toe with Cheadle in the acting ring and gives just as good as she gets.

Richard Gere is very good playing the soon to be retired Dugan.  We’re told several times during the movie that Dugan’s career was ‘undistinguished’ and ‘unmemorable’ but I think he’s a guy who sees being a cop as just a job and not a Holy Calling.  He’s not out to save the world like his ambitious trainee.  He just wants to go home at the end of the day and drink himself into oblivion.

I did find it funny that the tanned, handsome, obviously well-fed, fit and distinguishably silver-haired Richard Gere is supposed to be the burnt-out alcoholic when it’s Ethan Hawke who really acts like one.  With his greasy hair hanging in his face, pale as milk skin, twitchy mannerisms, chain smoking and looking as if he’s only read or heard about the beneficial personal daily use of soap and water, Ethan Hawke’s character is so wired it’s as if he’s about to run through the screen right at us screaming like a madman at any moment.   It’s also funny that even though we’re constantly told the Gere character is a raging alcoholic we only see him take a drink twice during the movie’s 133 minutes running time.

So should you see BROOKLYN’S FINEST?  I’d say yes but it’s not what I would call a Must See.  Don’t get me wrong; it’s as solidly professional a movie as you could hope for.  The acting and direction are right on point.  But the story (or should I say stories) aren’t anything new and there’s some fancy juggling the writer has to do at the end to finally have the fates of the three cops all play out in the same building in Brownsville’s Van Dyke housing project that I didn’t entirely buy but what the hell.  If you enjoy a down-and-dirty cop movie that isn’t afraid to wallow in its own excess of drugs, sex and violence then by all means check out BROOKLYN’S FINEST.

133 minutes

Rated R:  And it lives up to its rating so don’t say I didn’t warn you.  This movie has extremely vulgar language, brutal and bloody violence as well as graphic sex scenes.

The Cotton Club

1984

Zoetrope Studios

Directed by Francis Ford Coppola

Produced by Robert Evans

Story And Screenplay by Francis Ford Coppola, William Kennedy and Mario Puzo

It seems as if anytime movie fans get together and talk about great gangster/crime movies they’ll mention “The Godfather Trilogy” “Scarface” “Bonnie & Clyde” ”The Untouchables” “Once Upon A Time In America” “Goodfellas” or “Miller’s Crossing” just to name some of my own favorites off the top of my head but nobody ever seems to mention THE COTTON CLUB  which is kinda surprising considering that it was directed by Francis Ford Coppola who directed “The Godfather Trilogy” and shouldn’t be looked down upon as a lesser work of that great director.  I’m not for a moment suggesting that THE COTTON CLUB is equal to “The Godfather Trilogy” but what I am saying is that THE COTTON CLUB seems to get overlooked whenever gangster/crime movie favorites are mentioned and it shouldn’t.  It’s an incredibly entertaining movie on a lot of levels and explores an era of American history I’ve always been fascinated with and it’s packed full of terrific actors who all turn in outstanding performances.

The movie begins in 1928; the height of the jazz era and The Cotton Club is the hottest nightclub in New York City.  Bootleggers and gangsters rub elbows with the big rich and movie stars as they are entertained by the top black entertainers of the day such as Cab Calloway and Duke Ellington.  It’s not unusual to see Fanny Brice and Jimmy Cagney sitting at the same table with Lucky Luciano and Owney Madden, so intertwined are the worlds of organized crime and entertainment.  Everybody’s a celebrity whether they deal in box office or bullets.

We’re introduced to Dixie Dwyer (Richard Gere), a cornet player who has the misfortune to save the life of the infamous Dutch Schultz (James Remar) from a thrown bomb one night.  It’s misfortunate because The Dutchman takes a liking to Dixie and being on the good side of a bloodthirsty psychopath like Dutch is almost as dangerous as being on his bad side.  The situation gets complicated when Dixie falls in love with Dutch’s mistress Vera Cicero (Diane Lane) and Vera falls in love right back.   Dixie gets even more involved with Dutch’s criminal organization due to his brother Vincent (Nicholas Cage) going to work for Dutch when The Dutchman incites a vicious and bloody war as he sets out to take over the Harlem numbers rackets.  Intertwined is the story of Sandman Williams (Gregory Hines), a tap dancer who is in love with Lila Oliver (Lonette McKee), a torch singer who can pass for white and does so as a way of escaping the intolerable racism of The Cotton Club where black audiences can’t get in to see black performers and Sandman is beaten up by the stage manager just for wanting to talk to her in private.

While the love story of these two couples is played out there’s other stories swirling around them: Vincent becomes increasingly unhappy with getting shot up doing The Dutchman’s dirty work and plans to make his own move and get a bigger slice of the lucrative Harlem rackets.  Sandman and his brother Clay have a falling out and they break up their act.  Owney Madden (Bob Hoskins) realizes that the Italian/Sicilian mobs are making a big push into New York, squeezing out the Irish and Jewish gangsters and he thinks that maybe retirement isn’t looking so bad.  Dutch is getting increasingly crazier and crazier and the streets of Harlem are running red as he refuses to back down in his psychotic desire to take it from the control the black gangsters.  Dixie realizes that between his growing love for Vera and his disgust for Dutch his chances of staying healthy aren’t very good.  There are a lot of different stories going on but the movie never seems like its rushing or skimping on the characters and their fates.  The movie is a little over two hours long and none of the running time is wasted.  There’s never a slow point in the movie.  There are so many characters and so much story that Coppola can’t afford to waste any time.

Part of the reason the movie is so entertaining is the excellent casting.  Richard Gere and Gregory Hines are both good looking leading men and they’re wonderful here.  Richard Gere is billed as doing his own cornet solos and I dunno if that’s true or not but he certainly looks as if he knows what he’s doing.  And Gregory Hines is simply brilliant when he’s tap dancing and that’s his real life brother who plays his brother in the movie.  Supposedly the story of the Williams brothers is based on a lot of what happened to the Hines brothers in their own career.  Diane Lane and Lonette McKee are appropriately gorgeous leading women and it doesn’t hurt that they both know how to act very well.

But my favorite actors in the movie are Bob Hoskins and Fred Gwynne, who plays Frenchie, the bodyguard/confidant/partner of Owney Madden.  They’re based on real life gangsters of the era and I have no idea if they were as interesting in real life as they are in this movie but they shoulda been.  They make an odd pair, Madden squat and solid as a fireplug, possessing a culture and charm that masks his dangerous soul and Frenchie, a towering giant with a graveyard voice and deep set eyes.  The two of them are fiercely loyal and protective of each other and it’s demonstrated in a scene where Frenchie is kidnapped and Madden gladly pays the ransom.  Frenchie turns up alive and well and Madden is almost hysterical with worry as Frenchie calmly explains how he passed the time with his kidnappers.  Hoskins and Gwynne effortlessly steal the movie with that scene which ends up as something real and honestly touching.

What else is good in the movie?  Well, there’s Gwen Verdon who plays Dixie’s mother and Mario Van Peebles is one of The Cotton Club dancers.  Laurence Fishburne plays a character based on the great black gangster Bumpy Johnson, a character he would play again in “Hoodlum”.  The period costumes and sets look wonderful and the music and dancing work to give you an excellent idea of what that era must have been like.  And despite a couple of grisly deaths somehow Coppola manages to pull a happy ending out of all the bloody misery that doesn’t seem forced but has the same feeling of inevitability that his “Godfather” films do.

So should you see THE COTTON CLUB?  I have no idea why you wouldn’t want to.  It’s an excellent gangster movie made by a director who knows this material like a monkey knows coconuts and it’s an extremely well made period piece with plenty of great music and not a bad performance from any of the actors and how many movies have you ever heard me say that about?

Rated R

127 min