In the Electric Mist - Mord in Louisiana

I've just seen the 117 minute version, and it works. People seeing this on DVD should check that they have this longer version. The complaint is that the movie is incoherent, but in fact as well as crime movies do; all layers are brought pretty well together. The mousetrap snaps. Meanwhile, beyond a noir of earlier days, there is an attempt to deal with crimes both old and fresh, and a dramatization of a detective's inner debate through his projection of a Confederate Army general. And some of his troops--there is froth in details, as there is with the manner and antics of "Baby Feet" (John Goodman) and even his automobile. Froth in excess is that a detective, even if he is played by Tommy Lee Jones, should smash the faces of persons he is interrogating. For planted evidence, see the last scenes. There is what movie rating calls "language," all for the better.

'In The Electric Mist' is a murder mystery based on James Lee Burke's novel. Set in Louisiana, a no-nonsense copper Robicheaux investigates the murders of two prostitutes and an ancient murder of a black man. He crosses paths with some angry people and, consequently his life is at risk. The rich atmosphere, sets, presentation of culture and interactions between the characters look very real. Director Bertrand Tavernier really has captured the essence of the place. The cinematography is remarkable and the mesmerizing soundtrack is exceptional. The casting is solid. There is great chemistry between all actors. Tommy Lee Jones delivers is exceptional as Robicheaux. He is effectively supported by fine actors like Mary Steenburgen, Justina Machado, Kelly MacDonald, Peter Sarsgaard, John Goodman and Pruitt Taylor Vince. The story is halfbaked and somewhat of a mess as it's very inconsistent and the conclusion is unsatisfactory. At times, it feels patchy. The editing is quite poor and the pacing is very slow. I'd still say it's worth seeing for the authentic atmosphere, performances and awesome soundtrack.

Filled with bayou atmosphere, the film follows Louisiana detective Dave Robicheaux as he sorts through two cases that tie together past and present, history and future, black and white, rich and poor. The cultural tension that permeates the movie creates the backdrop for a psychological crime drama whose suspense comes primarily from the personal conflict of Robicheaux. The crime action itself serves more to buffet the lead character on his internal journey than to create an action-heavy thrill-ride.

In the Electric Mist is rich in atmosphere, and that is perhaps its strongest point. All aspects of the film-making process come together to drive home the feeling of the Lousiana bayou, from the detailed sets to the slow pace to the contrast between the simmering intensity of the true Louisiana folks with the outlandish extroversion of the outsiders and the locals who have been won over by Hollywood culture. It is a movie best experienced with your full attention.

There is a strong sense of suspense in the film, but it is delivered through tragedy and the search for resolution, not high action. While Tommy Lee Jones delivers the sort of performance one might expect and there are certainly plenty of thriller mainstay elements, this is not an action piece, an in intrigue, or a intricate mystery. If you cannot get invested in the tension of a complicated shades-of-grey lead character and his search for answers to questions that may not e fully expressed, the suspense will likely escape you and you will be left with a slow movie with an unsurprising plot. And if you cannot get absorbed into the play of contrasts and dialectics within the fabric of the rural Louisiana cultural fabric, you probably find the message trite, the ending too neat, and some of the performances (e.g., John Goodman as Baby Feet Balboni) as over-the-top and distracting. But if you can allow yourself to experience the film through Jones' Robicheaux, you will find yourself sharing his internal conflict, delighting in bright spots of energy like Alana Locke's Alafair, and clinging to a misty hope for resolution.

There aren't too many movies where you find that each and every actor seems realistic, without overplaying his or her part. I definitely have a bias towards moody, dark Louisiana movies with psychotic killers and corruption. This movie has all the virtues of that genre. Tommy Lee Jones is excellent as a worn-out, aging, alcoholic detective (on the wagon) who has a strong moral sense, but cuts corners when he deems it necessary.

John Goodman is so versatile that I didn't recognize him as the same actor who was in The Big Lebowski which I had watched only the day before. The script was so adept that they handled the issues of race relations in what I considered a realistic manner without any preaching. The settings, whether swamps at night, Southern mansions, broken down shacks, or merely country scenery all seemed highly realistic. The editing was excellent. Thus, the timing of most scenes was just right, so there wasn't the problem of boredom.

The only reason I gave the movie an 8 rather than a 10 is that it suffered from too much mumbled dialogue, so you have to be willing to live with about 25% of dialogue shooting past you (unless perhaps you are from "Loozyana"), and perhaps missing some of the relationships between people early on. However, while this meant that you might miss out on some of the subtleties, the story is not that fast moving and complex that it warrants bypassing the movie, given all its virtues.

First, there's the great French director, Tavernier, who made many films Americans missed. But at least most remember "'Round Midnight,'" an amazingly done jazz film with the late Dexter Gordon. Then there are the great actors, from Tommy Lee (who did indeed "nail" Robicheaux), but also Ned Beatty, Mary Steenburgen (who made the ordinary character of Bootsie bearable), the other great director John Sayles (as a director,of course) and countless lesser known character actors. The production values are superb. I've read most of Burke's novels and the sets of Dave's house, the dives he visits, the bayou, all of it are exactly as I'd imagined. The writing is good and I don't get why people think the story is confusing. But there is one major flaw (for me) that rankles. Why cast musicians (Levon Helm, Buddy Guy) in roles that really need strong acting? Helm was a great drummer for The Band, but I've never seen him act with much conviction. And the character of the dead Confederate general requires strength. Hal Holbrook would have been perfect. Then there's Buddy Guy, a great Chicago blues man, but he's no actor. He seemed almost to be reading most of his lines from off camera in one scene.

You cannot put strong actors in the same scenes with weak ones. But good actors together can make a scene--witness the last confrontation between Tommy Lee's Robicheaux and Ned Beatty's Lemoyne.

So, solid direction, much strong acting, faithful to the book, great sets and setting, all brought lower by some bad casting. Still, I think this one deserves more respect, especially compared to many of this year's "Oscar worthy" films.