La raíz del miedo

My fiancée suggested I watch this, and when we found it for sale at a good price, we bought it right away. I must say, this is a marvelous and quite well-crafted film. The acting is top-notch all the way. Gere manages to make us care about a type of person that few like. O'Quinn is somewhat underused, as he is a magnificent actor, but apart from that, everyone gets a good chance to perform well, and they all live up to it. I would have to say that I now have a completely new-found respect for Norton... and I had a great deal of respect for him before even knowing of this movie. The plot is well-written and has good layers to it, especially for a movie of two hours(running time does put quite a limitation on the level of detail and intricacy of the plot). The pacing is really good, the movie never moves neither too fast nor too slowly. This is the second film I've seen that was directed by Gregory Hoblit... and the second that I've really, really liked(both have received 8's by yours truly, and very deservedly so), so I will most definitely keep an eye out for any future works by the man. I haven't read the book of the same title that this is based on, so I can't comment on how accurate and true to the tone this film is. I urge anyone intending to watch this to steer clear of any spoilers on it, because the plot is too good to ruin. I won't detail it here, I'll just say that the film has many court-room scenes, and deals with a very violent crime(and it's not the only occurrence in the film of a violent nature). For that same reason, since it is depicted graphically in the film(but not too much... there was nothing gratuitous about it), I urge anyone who believes they may not be able to handle seeing such to consider if they should watch it or not. There is also quite a bit of language, as well as a brief scene of sexual nature, so if such bother you, you may want to watch a censored version, if you are interested in seeing it. I recommend this very warmly to any fan of court-room dramas and thrillers. If you enjoy an engaging and involving thriller with surprises, this is the movie for you. 8/10

Although Richard Gere has one of his juiciest roles in Primal Fear, the best performance by far is that of Edward Norton who got the film's only Oscar nomination for Best Supporting Actor in a stunning debut picture. It's the kind of debut that any player would like to make and the trick is to keep up a high standard you've already set for yourself. Which Norton to his credit certainly has in his career.

But as to Gere he plays Martin Vail, a top criminal defense attorney who will let everyone know it if they haven't figured it out. It's a tricky part because a guy this arrogant has to maintain some kind of surface likability or else you'd never believe he'd ever win a case in front of a jury. As for movie viewers they must have a rooting interest for him as well. But Gere's definitely a guy who they make lawyer jokes about.

A young altar boy has murdered the archbishop of Chicago, a mush mouth kid with a Kentucky twang played by Edward Norton. He's part of a choir of street kids that the Chicago archdiocese shows off on many an occasion. It was a particularly brutal murder, multiple stabbings and the carving of a cryptic message in the chest of the deceased.

Gere makes no bones about it, he's wanting this case because of the headlines it will bring him. But when F. Lee Bailey or Johnnie Cochran offers to defend you for nothing, you don't ask questions.

Which brings us to Norton who has you might have gathered is not all he seems. He's a street kid and he's used to getting over on people himself. It's one of the darkest characters ever done on screen, maybe a bit too dark for Academy tastes. That might have been the reason that Cuba Gooding beat out Norton for Best Supporting Actor with his much lighter role in Jerry Maguire.

One in this film you will notice are Laura Linney as the Assistant District Attorney who Gere was once involved with and is getting a lot of pressure to bring in a guilty verdict for understandable political reasons. I also liked Alfre Woodard as the very patient judge at Norton's trial and Frances McDormand as the psychiatrist who examines Norton.

If you think you've figured out what's behind Primal Fear, rest assured you haven't from this description. Let's just say everyone gets good and played here.

Which brings to mind the dedication for this review. Gere's attorney character is likable, but arrogant. Back in the day I knew an attorney who was arrogant without any real reason for the arrogance. He'd love to have been Richard Gere, I'm sure he saw himself that way. So to you Ron D'Angelo this review is dedicated to.

Into big city Chicago political corruption and moral decay comes an ingeniously deceptive sociopath from nearby backwoods Kentucky who we see at the opening as an altar boy singing in an all boy church choir that's performing for the city's elite at a social fundraiser for charity. Like another Gregory Hoblit film (Fracture), you have to accept a certain amount of implausibilities. Like the murder itself, for instance, around which the film evolves. But also like Fracture, this is another (earlier) and surprisingly good take on lawyers and prosecutors (Richard Gere and Lara Linney) and the elusive perfect crime. As well, is the part played by Edward Norton. He's got that backwoods hardscrabble menace down about as well as anyone since those Georgia hillbillies in Deliverance.

Martin (Richard Gere) is a very successful attorney in the Chicago area. However, his workaholic and limelight-seeking tendencies ruined one relationship with an underling (Laura Linney). Now comes the case of all cases. The archbishop of Chicago has been brutally murdered and the suspect is an innocent looking vagrant named Aaron (Edward Norton). Martin decrees that he MUST represent Aaron so he offers the young man his services pro bono, knowing the publicity for the trial will place them both squarely in the news for weeks and weeks. Yet, there is much evidence against Aaron. Despite his stuttering and guiltless demeanor, is Aaron truly not the killer? And, what is more important, justice or winning a case? This is a great, great movie, in many diverse ways. First, the performances are outstanding, with Gere giving a fine turn as the hotshot lawyer and Norton truly jawdropping as the murder suspect who looks like a choirboy. Linney does a nice turn as the district attorney and the other cast members are very well chosen, too. The Chicago setting shows the place as it is, a mixture of both wealthy and dismally poor neighborhoods. Costumes, especially Gere's lawyer garb, are very nice. Then, too, the script, based on a novel by William Diehl, is first rate and full of twists and turns, with a stunning maneuver at the finale. There are a few brief scenes of graphic violence, as the murder itself comes quite near the film's beginning, so there may be moments when you need to look away from the screen, if you are a bit squeamish. Also, if you are Catholic, there may be some parts of the story that are a bit offensive. But, all in all, if you love Gere or you long for interesting, intelligent thrillers, you should not miss Primal Fear. Why don't you speed off toward the video store and pluck this winner from the shelves tonight?

It's not often that viewers get a chance to watch a star being born - that a talented unknown actor's performance that is so spectacular it leads to the A-list in one role is rare: Julia Roberts in Pretty Woman, Brad Pitt in Thelma & Louise to name a recent few. But Edward Norton's turn as the "defendant/victim" in Primal Fear is one of those "Wow" moments that leaves the audience salivating for his next performance. In this feature debut, Norton outdistances his role, as does Richard Gere, in a resurrection no less impressive than Norton's star-making turn. Heretofore, Gere has specialized in assorted intelligent professional cad roles. Here, he gets a chance to inhabit one that not only wears his dubious character on his sleeve, but wears it, drives it, drinks it... revels in it. Yeah, sure somewhere there's a heart of gold, but like his client, the layers on top serve him better, and the heart of gold is tarnished. Gere is at his peak, comfortably, cheerfully inhabiting the role.

Laura Linney deserves extra credit for often being the ice-queen foil which propels the two male characters' development; her own character is rather one- dimensional, but she herself squeezes as much dazzle as she can from it. Even though everyone else obviously falls for whatever Gere's Vail purrs into their ears, it's merely enough time for Linney's Janet to get a drag on her ubiquitous cigarette; another step in what will (hopefully) someday be film's love affair with her. Wasted, sadly, are fine character actors like John Mahoney, Steven Bauer, Maura Tierney & Andre Braugher who could have lit up the screen had they not been handed scripts with generic character stereotypes.

See it to watch the ascension of Norton and Gere.