Homicide

Homicide detectives Bobby Gold (Joe Mantegna) and Tim Sullivan (William H. Macy) were taken off the case of Robert Randolph in favor of the FBI. The FBI fumbles the arrest. With mounting racial resentment, the mayor orders the cops to take him alive. Gold stumbles onto a murder of an old Jewish grandmother who ran a store in a black neighborhood. The rumor is that she kept a fortune in the basement. The Jewish family uses their political influence to get Gold as the investigator. Gold is frustrated at losing the Randolph case. He's also not a proud Jew and dismisses this case which would test his Jewish ethnicity.

It's David Mamet writing and directing. The dialogue has his mannered style. It's hard-boiled. The visual style is stark. Some of it is off-putting. He's hitting the Jew card very hard right from the start. It's unnecessary. The central concept is intriguing. However, little things keep annoying me. Gold's gun gets taken and fired by a prisoner but there is no investigation afterwards. It shouldn't be up to Gold. There is supposedly a gunman across the way but they don't close the curtains. There are little problems all the way to the end. The most problematic is that Gold's switch feels too abrupt. In fact, I figured he's lying to them to pump for information. In general, the movie doesn't feel natural. There is an intriguing idea but I can't completely buy it.

I am a huge fan of Mamet and there's an excellent cast - even the mighty Roger Deakins as DOP. But this movie doesn't work. The dialogue is stilted and forced - surely the last thing you'd expect from a Mamet script - the main character is weak and not credible as a detective. The plot is all over the place and the ending highly unsatisfactory.

Bobby Gold, a jewish homicide detective involved in tracking down a cop killer, stumbles onto the shooting of an elderly jewish lady. Although starting only very reluctantly, he gets drawn deeper and deeper into this second case, eventually getting involved with a militant pro-Israel group which causes him to question his own identity as a Jew. This naturally leads to neglect of the first case. Bad things happen as a result.

If you like Mamet films, then you'll certainly enjoy this one. As is typical, his tight dialogue creates wonderful tensions with a minimum of words and the acting is excellent. Unfortunately, the movie fails to live up to its promise. Part of the blame is in a relatively weak finale and a conclusion which goes by so fast you'll miss it if you blink. The real problem, however, is that we never develop any intimacy with the human relationships and personal conflicts which should be the heart of the movie but instead just end up providing support for the actual events taking place. We should be leaving the theater with the story playing over and over in our minds for some time to come, but instead we leave simply having been entertained and enthralled for the duration of the film. Not a bad thing, but not as good as it could have been.

While this picture could compare favorably with many of its type for nothing more than its use of action, suspense and realistic details regarding police work, it goes significantly further and becomes a character study of a man searching for an identity. A conscientious, no-nonsense detective, Gold has never become involved in his work to the extent that it has made him question his values, let alone his reason for existing. Without the point being forced upon us, we see a character with (seemingly) no home, no friends, no social activities: a decent man who has not connected with anything meaningful in life until circumstances force him to make significant choices.

Especially challenging to the viewer is the deliberately ambiguous ending in which there is reason to believe that Gold could choose either of the major alternatives available to him. He looks and feels like an outsider in the precinct. He now identifies with the Jew as an outsider. Could it be that he is actually considering.....?

See this provocative picture, and decide for yourself. Excellent performances and direction throughout.

While on his way to the case that will make his name, homicide detective Bobby Gold gets sidelined to the scene of a murder of an elderly Jewish woman in a candy shop. Present when the family arrives, Gold is then transferred from his case to this murder – much to the annoyance and sympathy of the rest of his team. At first Gold resents the assignment and doesn't believe any of the paranoid theories about the murder put forward by the family, but digging deeper he finds there may be more to the case than he first thought.

I came to this film because I generally like the work of Mamet and specifically the great pattern and flow of dialogue that he delivers. And yet again, in this regard, I was not disappointed because the film does have a great flow to the script that gives each character energy and presence. I always struggle to describe what it is Mamet does (and have failed here as well) but it works and those that know of it will find more of it here. The problem for me does rather lie in the narrative though. The ending is quite unsatisfying and leaves many questions unanswered. Now, to me, I could accept this if the film was about Gold rather than the two cases in play, and, in a way I think that was the intension. However the script is not strong enough to make the film all about his character – which is a shame because I wanted to understand him more.

Mantegna delivers the character well anyway. He is the heart of the film and his presence and delivery bring out Mamet's script. He is surrounded by a famous support cast, all of whom do equally as well with the dialogue even if they have lesser roles. Macy, Guastaferro, Wallace and others all turn in good support. So mostly a good film and certainly one that will appeal to fans of other work from Mamet. The narrative may leave some viewers feeling a bit disappointed but it still has enough forward motion and energy to engage throughout.