The Merry Gentleman

I have a confession: I adore Kelly Macdonald's Scottish accent. It makes me go all weak in the knees, sends my heart aflutter.

She is the reason I went to see "The Merry Gentleman." I like Michael Keaton, too, and thought his performance in "Game 6" (2005) was exceptionally good. I wasn't too sure how good a director he would be, but after watching "The Merry Gentleman," I can safely say that Keaton is a very good filmmaker.

The story of "The Merry Gentleman" could very well point to all the trappings of a formula: An abused woman inadvertently sees a hit man and then he befriends her with obvious intent.

Given filmmakers' penchant these days to turn this sort of subject matter into yet another Tarantino or Guy Ritchie clone, the calmness with which "The Merry Gentleman" unfolds comes as a wonderful surprise.

I realize that film-goers who want to see every hit man movie turned into another fast-talking Tarantino imitation might be sorely disappointed or even bored by "The Merry Gentleman." This film takes its time. It's in no hurry to get where it's going and it doesn't pander to its audience with needless bloodshed, non sequitur riffs or slam-bang car chases. This film might be about a hit man and the witness, but it is not an action film. This really is a splendid character study, paced deliberately so that we would get to know, understand, appreciate and grow to love these people.

This film relies on its two main characters, Frank (Keaton) and Kate (Macdonald), to carry the film. And these two fine actors do not disappoint. Their scenes together are strikingly powerful, even when they say little. And there are many such moments in this film. Even their meet-cute, which could very well have turned into a typically corny moment, is handled with grace, charm and just enough humor to make you smile.

This is a drama about human connections, more than anything else. An unconventional love story as Frank and Kate, a depressed professional killer and the mousy abused woman, slowly work their way through each other lives, through the uncomfortable moments, trying to steal moments they can share.

Keaton could very easily have played Frank for a chuckle or two, given him a frenetic edge, as he often has in films. Instead, he plays him low-key. Perhaps too low-key, some could argue, but that is what I loved about his character. He really is more than a man struggling with the morality of what he does; he's a man struggling with life and all its vagaries. What he does for a living seems almost inconsequential to his struggles. Keaton finds the fine edges to his character and realizes there's more to reveal in what Frank doesn't say than in what he does. There's nothing false about Frank's weariness or sadness. This is truly a finely-tuned and subtle performance by Keaton - one of his very best.

Macdonald is completely charming as Kate. Her glorious accent aside, she brings a delightful sweetness to her role. This is a real woman with genuine problems and we understand Frank's desire - and even need - to take care of her. She has suffered much and it all seems so unfair that such a creature would be in such pain. Macdonald is marvelous. She has always been a remarkably astute actress capable of immediately drawing the audience to her. Just watch her in "The Girl in the Cafe" (2005) and you will promptly fall in love with her. She also gave the severely under-praised performance in "No Country For Old Men" (2007). This is yet another wonderful performance from a terribly under-appreciated actress. Macdonald never disappoints.

There are two fine supporting performances - from Bobby Cannavale as Kate's husband, and Tom Bastounes, as a cop investigating Frank's killings and also harboring a crush on Kate. Cannavale's outburst seems a bit noisy for a film this solemn, but he makes it work. And Bastounes, as a not-too-tidy cop, is just priceless. His dinner scenes with Kate contain terrific bits of acting.

At a time when "Transformers: Revenge of the Fallen," "Terminator Salvation," "Public Enemies" and other Hollywood films gain all the attention, it is too bad that a film such as "The Merry Gentleman" seemingly just gets lost in the shuffle.

This is a gem of a film. It is not for anyone seeking an adrenaline rush. But is for those seeking a tender, sweet, deeply moving, at times startling film about deeply damaged people and their attempts to find some sort of solace, happiness and meaning in this life. "The Merry Gentleman" is a richly rewarding experience for those who appreciate good movies.

In a recent trend, the film going public has favored a cinematic experience of what I like to call "Hand it Overs". These phenomena can be as creative as the "big reveal" at the end of early M. Night Shymalan films, or as effortless in reality as passing the mashed potatoes at Thanksgiving dinner. They give the majority of today's audiences exactly what they want, instant gratification. Imagine if we never saw Malcom Crowe's real fate completely unfold in "The Sixth Sense" or Elija Prince's true self-revealed in "Unbreakable". How would this change our perception and enjoyment of them? The Merry Gentleman marks Michael Keatons Directorial debut by chance due to the sudden illness of screenwriter Ron Lazzeretti who was originally slated to Direct. Keaton also stars as Frank Logan, a depressed hit man, alongside Kate Frazier (Kelly Macdonald) a woman who has just escaped from an abusive relationship. As the plot unfolds, Frank and Kate end up mysteriously crossing paths, which spawns an unconventional, often uncomfortable and strained romance between these two mixed up individuals from different worlds.

Keaton's first shot at direction does everything but fall into a "Hand It Over". His pacing is agonizingly slow, yet unbelievably careful. Discerning and seasoned viewers will appreciate his intricate placement and organization of scenes for the greater purpose, if not during the film then certainly after the credits roll. Others will become fed up with his unconventional style a third of the way through, and if they haven't walked out of the theater before the final scene may let out a strained, "That's It?" and huff out the door unsatisfied. For me it took a good fifteen minutes after the picture ended before everything clicked and I was blindsided by the sheer brilliance of what I had seen; deep themes rich in symbolism of religion and redemption and the overall feeling that Keaton felt no responsibility as an artist to spell it out for us.

Performances all around play it safe but are always believable and gratifying to watch. As a virtual no name, Macdonald holds her own quite well, even while sporting an Irish accent that can sometimes border on a tad annoying and contrived. In front of the camera, Keaton never fails to please and continues to frustrate me when I realize that he has been almost entirely absent from view since the mid nineties. Supporting cast gets the job done and Bobby Cannavale delivers a poignant, gripping and short-lived scene stealing performance as Kate's boyfriend.

The question that will remain on many of our minds is, "what exactly is the fine line between complete obscurity and masterpiece, and did Keaton cross it?" That's for each of us to decide individually, but it is in the opinion of this reviewer that said line is imaginary. As an art form, film should have no boundaries, regardless of how many cookie cutter, "How To Lose a Guy in Ten Days" burnt offerings Hollywood Studios continuously try to force down our throats. After all is said and done, it does feel good to sink your teeth into a double quarter pounder, but on occasion, Yellow Tail Sashima can prove to be extremely rewarding. After all, grandma always said try everything once.

The Merry Gentlemen has the makings, and perhaps even the trappings, of a predictable neo-noir involving a hit-man (Michael Keaton), a detective (Bastounes) and the woman that they're both eying (Kelly MacDonald), and the elements of crime floating all about. But Keaton brings to the table as a first-time director an absolutely unbreakable grasp of what makes the scene(s) work from an actor's stand-point. Ironically for an actor who usually makes his mark in movies as someone with a lot of nervous energy or something that makes him quirky or mysterious (i.e. Batman/Bruce Wayne, Beetlejuice, Jackie Brown), here he's subdued, almost like Alain Deleon in Melville's movies. He doesn't say much, but when he does you listen, especially as his character Logan has pneumonia or carries a Christmas tree.

On his own end Keaton's got his character covered wonderfully. That leaves the other two, and one other actor that should be noted. MacDonald is quickly becoming an example of a perfect character actress. It's hard for me to see her becoming a full-blown A-list star, even a decade or more after she hit the scene in her debut in Trainspotting, but when she comes into a role, usually in the supporting variety (most recently No Country for Old Men and Choke) you feel her presence incredibly. She's so vulnerable and adorable, so keen on how her character should be in every moment, as someone who's fragile, been messed with by her husband, but wants to have her space while at the same time being friendly to both the lonely hit-man and the desperate cop. It's hard for me to see a flaw in her performance, and maybe helps elevate things another notch or two. Ditto for Bastounes, one of those actors you swear you've seen somewhere else but actually has only been in one (or none) features before this. He, too, makes a mark playing off both MacDonald like at the restaurant or Keaton in a pivotal scene at the tailor.

There's another actor I should also credit, though at the moment I forget his name: he plays MacDonald's character's husband, and he appears out of the darkness in a scene, a recovering abuser with a newfound Jesus addiction who tries to win back his wife's heart as she holds a knife to him. It's one of the best, creepiest dramatic scenes I've yet seen this year. And while I praise his and the other principles performances, the rest of the film around them is... well, good, watchable, though nothing wholly remarkable. At times Keaton is still finding his footing with style, keeping some shots engaging and others just doing a big pan or reveal where it wouldn't be necessary. It's competent work, though, and I would hope to see something else from him; at the least he reveals himself such a fantastic director of his fellow actors (not least of which himself, though as Eastwood shows that's easier done than said) that he may have found a new calling. It's an A-grade acting job amid a decent little B-movie. 7.5/10

The main character doesn't say a word for the first half hour. But in that half hour, if we're paying attention, we get more insight into the depths of a man's soul than if we had just read his 500-page autobiography.

The Merry Gentleman is billed as a crime drama, but that label hardly does it justice. The same way "The Spy Who Came In From the Cold" broke the spy genre, the same way "2001: A Space Odyssey" broke the scifi genre, the same way "Pink Floyd -The Wall" ain't no average musical, this film is anything but your average crime drama. For starters, there's not a single car chase, gunfight, blimp explosion or any of the standard crime drama clichés. Instead, the tension & suspense is masterfully built around secrets. We begin with a secret which only the main character and the audience know. Then there is a secret which the 2nd character only knows (which the audience must slowly piece together). And finally, we have the main character's ultimate secret which is so cryptically presented that it may take you a few days of introspection before you figure it out.

This film is very much like a challenging poem whose meaning is elusive at first glance but whose mood & style sinks into your mind over time. Dialogue is sparse, but every line packs a whollop. In particular, pay attention to the analogy of ghosts & angels which crops up several times both verbally & visually. One of the characters says something like "Ghosts and angels are the same, except ghosts are haunted while angels are blessed." OK, it may not mean much at first, but by the end of the film the significance is absolutely beautiful.

Which brings me to the cinematography: absolutely beautiful. I'm no film school student, but I know what images affect me, and these scenes certainly did. Contrast (gleaming white snowflakes at night), perspective (long corridors at the morgue), symmetry (a lonely theatre marquee) and surrealism (a Christmas tree burning in a wheat field) are just some of the artistic touches you have in store. I can honestly say that I cannot think of a finer directoral debut than Michael Keaton in The Merry Gentleman.

I won't even get into the first rate acting, the haunting musical score, or Katie's adorable accent. This movie is just about perfect. The only reason why I'm giving it only 8 stars instead of 10 is that I'm a real hardass.

By the way, DO NOT WATCH THE TRAILER. DO NOT READ THE DVD DESCRIPTION. AVOID ALL DISCUSSION OF PLOT. This movie is best enjoyed if you know absolutely nothing about the story. The challenge (and the fun) will be even greater.

No captions' flat affect unsatisfying ending

"The Merry Gentleman" is a very strange film. It also is a very unsatisfying one because I liked so much of it and the film's ending really did not deliver.

The film is about an unlikely friendship that develops between a suicidal assassin (Michael Keaton) and a woman, Kate (Kelly MacDonald), who has been abused by her partner. What links them is tenuous and the ending really, really not at all what I'd hoped. This is a real shame, as the movie, up until that point, has terrific and highly original. It also never really delved into Keaton's character well enough. His motivation, in particular, is confusing to say the least.

Overall, had the ending been better, this would have been an excellent film. As it is, the story could really have used a bit of work...though there is still enough to this story to make it worth seeing.