La Toile d'araignée

A mature, intelligent thriller, in which Newman recreates Lew Harper. It takes place around New Orleans and involves public corruption and an intricate web of deceit.

The style is fairly laid-back, though it doesn't actually lag - even though it sometimes seems it's about to. The characters are all sharply delineated and complex, and there is a lot of very good acting going on.

Thoroughly watchable, with some tension and suspense, but only sporadic action.

In 1966 Ross MacDonald's private investigator Lew Harper (Paul Newman) was hired by a wealthy matron to find a missing husband. It is nearly ten years later and we find the Los Angelas detective traveling to Cajun country in the deep south. Upon arriving he is immediately welcomed by Lt. Franks of the local police (Richard Jaeckel, superb performance) by arresting him for child molestation, lewd exposure, sex with Schuyler Devereaux, (Melanie Griffith) an underage girl, carrying a concealed weapon and resisting arrest. His influential employer, Iris Devereaux (Joanne Woodward) is an old flame from California, whom he had a love interest with six years ago. Now she wants him to discover who sent her a threatening Blackmailing letter. Her protector is the Chief of Police (Anthony Franciosa) who reminds Harper that he will be watching him for the slightest provocation against the family. There is no shortage of villains in this mystery story. Among them is Mr. Kilbourne (Murray Hamilton) a powerful millionaire intent on acquiring the oil rich land the Devereaux's own but won't sell. Pat Reavis (Andrew Robinson) the deject employee who seeks revenge for his dismissal and 'Candy' (Paul Koslo) who's as vicious as the dogs he trains for the arena. Harper plays it close to the vest as he quickly discovers his investigation begins to uncover more family secrets than a closet can hold. All of his efforts produce dead bodies, murder, mayhem, a lost account book and finally a drowning pool which threatens his very life. All in all, a superb movie for cast and characters and one which easily marks this film as a Classic. ****

Ten years after Newman's success in "Harper" as the title private investigator, he reappeared in this follow-up. While the caliber of the cast can't hold a candle to the stellar first film, the acting and mystery elements are excellent. Woodward plays a wealthy Louisiana woman who once had a brief fling with Newman. She hires him to find out who's blackmailing her about her extramarital dalliances. Once he lands in the bayou, he is immersed in several confusing and complicated situations involving sex, real estate war and murder. Newman is utterly appealing as the hard knock investigator, Woodward is cool and refined, Franciosa puts his method acting to good use and Hamilton puts an enjoyably quirky spin on a villainous role. Griffith effectively plays Woodward's sexually ripe daughter and Browne adds great authority in her brief appearance as Woodward's domineering mother-in-law. The plot is extremely convoluted and risks losing all sense at times, but it all comes about in the end. The actors succeed in making the audience want to see more of what they are all about. The title refers to a climactic scene in which Newman and an exasperatingly upset cohort are trapped in an enclosed hydrotherapy room which is filled to the brim with water. This affords a rare opportunity to see the relatively modest Newman trotting around in damp boxer shorts. The film utilizes (perhaps overutilizes?) the song "Killing Me Softly" throughout. The film is like a reunion of sorts for Newman. Aside form his frequent collaborations with his wife Woodward, she and Franciosa had starred with him in "The Long Hot Summer", Hamilton had appeared in "The Hustler" and Jaeckel co-starred with him in "Sometimes a Great Notion". Director Rosenberg has also directed Newman in "WUSA", "Cool Hand Luke" and "Pocket Money". Years later, Griffith would appear with Newman in "Nobody's Fool".

This is follow up to "Harper" and Paul Newman reprises his role as a private detective loosely based on Ross MacDonald's Lew Archer. The plot is based around Harper being a few years older but basically the same style PI you came to like in Harper. He is smart and has a drive to finish a case; even if he ends up in trouble. You get a mix of Joanne Woodward, Melanie Griffith (as a teen), Tony Franciosa (doing a very good job acting) and a stellar supporting cast. There are a lot of twists and turns, a lot of dialog, one shootout - it's Newman as Harper! Set in pre-Katrina New Orleans, "The Drowning Pool" is a rich stew of intrigue, great cast performances and classic MacDonald twists and turns within a dangerously dysfunctional family. Paul Newman completely inhabits Lew Harper's character, the settings are alternately grand and deliciously seedy, and the cinematography is excellent. A very young Melany Griffith place the infant terrible' in this film, not bad for a kid breaking into the movie game. But the chief action focuses on Newman and he does not disappoint. There's also some interesting plot points involving oil off the coast, and the resulting corruption of the police as money was shovelled around to secure drilling rights.

Overall rating: 8 out of 10.

Newman reprises his role as Lew Harper for the second and final time in the long-awaited sequel to 1966's HARPER, another twisting mystery; this time set in Louisiana. Unfortunately, THE DROWNING POOL was tepidly received by both critics and audiences, most of whom seemed to think the film paled in comparison to the original. I am one viewer who disagrees strongly with the general consensus in this case. Not only is THE DROWNING POOL a first-rate mystery thriller, but it is also one of the most sorely underrated films in Newman's filmography.

The film has a completely different look and feel than the previous film, which may have been the reason that so many critics and audiences unfairly rejected it. Gone is the sixties-era go-go mania, which has been replaced with the moody elements of modern film noir which perfectly suits the intricate story of murder and blackmail. The film may not have the starpower of the previous film, but it nonetheless offers solid work from Joanne Woodward, Anthony Franciosa, and a particularly affecting turn from Linda Haynes. Best of all is the then-18 year old Melanie Griffith, who owns her role as the scheming bit of jail bait, unsubtly lusting after Newman's Harper.

Yet nothing can even come close to upstaging Newman, who is as commanding here as anywhere else in his career. In many ways this is a transitional effort for Newman, paving the way from early brutish roles (1958's THE LONG HOT SUMMER, 1963's HUD) to his latter day, more cerebral heroes (1982's THE VERDICT, 1994' NOBODY'S FOOL). Also, even at age 50, the man has rarely been sexier. To top things off, we also have one of the greatest, most original escape scenes in movie history - although I'm not giving it away; you'll have to check out this underrated thriller and see for yourself.