Ladro e gentiluomo

Even though I appreciate Burt's bombastic,snide,cocky,gum chewing persona of old it was fun seeing him as vulnerable and pragmatic. I love caper movies and even though this one is tongue-in-cheek it is quite entertaining. I especially love the cat-burglar genre. Siemaszcko does a nice job of combining the youthful and arrogant with the need for those "coming up" to learn from a mentor. The movie doesn't take itself seriously but provides a good relationship story. Alot of fun if you just let it happen to you without analyzing every aspect. If you liked Siemaszcko in this check him out in Young Guns, and 3 o'clock high.

Often dubbed Burt Reynolds' big comeback (after a lackluster 1980s), though the term "comeback" really only applies to his choice of roles. Reynolds has always been a captivating actor, but his role selection hasn't always been stellar. In Breaking In, he teams up with pragmatic Scottish director Bill Forsyth and talented screenwriter John Sayles. Forsyth directs with a genuine interest in the choices people make in life, and Sayles creates a couple of sharp, engaging characters. Surrounded by solid material such as this, Burt, alongside the lively Casey Siemaszko, delivers a handful of standout, earnest scenes. Forsyth isn't aiming for groundbreaking conclusions here, but rather an intriguing character study - and that's exactly what this film is: an engaging piece of drama, with just the right dose of humour.

What makes this buddy crime comedy work rests essentially on it's sympathetic characters. Delivered here in traditional veteran/rookie fashion,the story paces along steadily as young and endearingly misguided Mike (Siemaszko) is given life lessons in the art of safe cracking by world-weary professional Earl (Reynolds). The chemistry between the two leads allows for cleverly-conceived comedic scenes to shine forth beautifully. From the moment of their initial accidental meet-up, you are instantly hooked. The film's best quality though is it's ironic approach to burglary, for Earl talks of "The Job" as though it were a viable career option! This is Sayles' savvy screenplay technique undoubtedly shining through. Guided by Forsyth's refined direction, this comedy never veers into slapstick, distinguishing it from the later inferior 'Safe Men'. It never strives to be what it isn't, and so it rarely disappoints. A similarly-styled, yet darker film worthy of viewing is Saul Rubinek's 'Jerry and Tom'.

Rating: 3 1/2 out of 5 stars

I remember seeing this little film in the theater. It was a second run theater and this was the second part of a double feature with "The Abyss" which I had actually gone to see. I stuck around for this, not expecting much as Burt reynolds didn't have much a career going at this point. Boy, was I surprised! This film is a gem. A low-key comedy, where the humor doesn't come from gross-out belly laughs but from characters we can relate to. It was such a treat to see Reynolds shelve his tough-guy, trans-am persona and tackle a character role, showing warmth and depth akin to his work in Boogie Nights. I admit to a fondness for "caper" movies, and while this one fits the bill, it's not quite as clever in that department as some others, but this movie isn't about being clever, it's about people and how they relate to each other, even in the realm of burglars. If you haven't seen this, it's well worth renting.

Burt Reynolds broke out of his leading man pigeonhole to attempt, for once, a more believable role, playing a middle-aged, low-rent burglar who enlists the help of a dumb but loyal grease monkey and then proceeds to give him lessons in both larceny and life. There are a few heists along the way, but this is more a character study than a caper film, and it works in large part because of the rapport and timing between Reynolds and his blue collar sidekick Casey Siemaszko. Both characters are losers, and it might be argued that losers make more engaging heroes, perhaps because they're easier to identify with. In the spirit of earlier Bill Forsythe films it's a slim but disarming comedy, with an extra measure of depth in the canny screenplay by John Sayles, as always the working man's champion, who along the way makes some minor but interesting points about the haves and the have-nots.