Der Klient

Back in 1994, I read this book and just like other John Grisham's novels, with the exception of "The Pelican Brief", once I started reading, I couldn't put it down.

Director Joel Schumacher and Screenwriter Akiva Goldsman did an excellent job keeping the movie within the storyline without doing a horrible "hatchet job" most do to novels.

In addition, there was an excellent flow to the movie. It kept moving along; There wasn't very many slow moments in it and it kept me on the edge of my seat.

The casting was great as well. I liked Susan Sarandon as Reggie Love, Brad Renfro as Mark Sway, Tommy Lee Jones was a perfect fit as the "Revered" Roy Foltrigg. Will Patton as Sergent Hardy, was an excellent sleezy and conniving officer.

When I saw Anthony LaPaglia as Barry "The Blade" Muldano, I didn't envision the greasy sleezeball he portrayed, but someone more tougher or perhaps more thuggish. But Anthony LaPaglia fit just fine.

This is a movie worth renting.

Mark Sway is a real hero here, although he is not only a mere child, but a disadvantaged child in the middle of adult power structures breathtaking in their deviousness and casual cruelty. The theme of youngsters forced by circumstances into adult roles and responsibilities, particularly in being more level-headed and mature than their parent(s) has become as strikingly common in contemporary literature as it was strikingly uncommon until about a generation ago. But there are ample parallels to real life in pre-Romantic history. It is really our modern assumptions of prolonged childhood and adolescence which are abnormal in the fuller perspective of human experience. Aren't we on the verge of these concepts' retreating from the apogees to which western culture pushed them in the 19th and early 20th centuries?

If so, this film is on the cusp of the trend. Yet it might never have worked but for the director's good fortune in locating Brad Renfro for the lead role. What a find! His earthy, protean spunk and obliviousness to any cute brown-nosing towards his elders, simply because they are elders, make him entirely convincing in the part. He is, I hope, on his way to being a great actor, but perhaps it will continue to be this film which shows his freshness most clearly.

Not that it isn't very taut cinema in other regards. The build up of drama in the opening scenes is superb, with acting, cinematography, and the score all combining to provide a seamless experience. As one critic put it, it starts like a house afire, and the fire never goes out. This is a film one can see again and again, noticing additional fine touches each time.

The Client is a good film with moments of extreme greatness especially for a courtroom thriller such as this. But there are also scenes where they should have been added into the editing room. The film was excellent in the beginning, slows to a crawl in the middle, and picks up in the end. If it stayed like the beginning, this film would have been flawless.

After a 11-year-old kid and his brother witnessed a suicide, the kid hires an attorney to help protect him and his family from threatening mafia members and a stubborn Federal District attorney.

The acting is very good in this film. Susan Sarandon seemed like she was born to play this role. She was just perfect! For a kid who never acted before, Brad Renfro was brilliant as the snobby 11-year-old.

Overall, this is a slightly above-average crime thriller. Sarandon steals the show as her role of the attorney. Joel Schumacher directed a masterpiece compared to the Batman films he would take over after this film. I rate this film 8/10.

Susan Sarandon should stick with the tough minded lawyer more often. Perfectly cast in the role of Reggie Love, she brings a certain charm to a role which could have lacked in that department. And to make matters even tougher on her, she was almost outshined by Brad Renfro, who made quite an impression in a film such as this. While the film was put together in a rather conventional way, with Tommy Lee Jones playing an over clichéd character, the film is still rather gripping. A decent film to have in your collection, and one of the better John Grisham book-turned-movie adaptations.

Wow, what a cast! And they all deliver the goods too. Susan Sarandon is an exceptional actress. Watch the scene in "Dead Man Walking" when she visits the family of one of the victims. She doesn't just sit quietly. She actively "listens" to them. And Tommy Lee Jones uncovers the comic side of his dashing political lawyer. Even the eleven-year-old kid gives a spot on performance, anything but cute, which is a relief. The smaller roles are equally well done although there is less to be done well. J. T. Walsh is always good. Mary-Louise Parker never makes a wrong move as the stressed-out mother. Ossie Davis is a monumental presence as the judge. Bill Macy is given only a few lines.

The script isn't bad either, especially in the first half of the film, in which the characters are being established. There are, alas, three clichés.

The bad guys LOOK like move bad guys usually look. They dress in black, have long greasy hair, are engraved with threatening jailhouse tattoos of barbed wire and things, and they never seem to enjoy themselves.

There are also two stereotypical scenes which really should have been avoided. In the first, the boy, Renfro, is trying to sneak out of a hospital. He pokes his face through a door into the reception room, where he sees his mother and two cops walking around. In the shadows he also spots the man he knows is trying to murder him. So what does he do? Does he run to his Mom and the police for protection? Certainly not. He does what aay potential murder victim would do. He dashes away from safety, down several flights of an empty stairway, followed closely by the squinter with a knife. The scene that follows is lifted straight out of "Coma," with the killer being locked in a refrigerator.

The other stereotyped situation is towards the end, when (just by the most improbable of coincidences) Sarandon and Renfro reach an empty boat house at the same time as three of the heavies. The two innocents try to avoid being discovered. There is a lot of tiptoeing around on creaky boards, a foot chase through some bushes, one of those scenes in which one person holds a gun on a second, and the second smiles and says, "You don't have the guts to pull the trigger," and walks up closer to the muzzle.

I've pointed out these weaknesses not because this is a bad movie. It's really pretty good. But the cast is so outstanding that any weakness in the story is the more highly illuminated.

See it, if only to see the range of facial expressions into which Jones is able to fashion his face.