Lo sbirro, il boss e la bionda

First time I watched this film I was so perplexed by it that I had to watch it again, and on the second viewing I loved it. What had initially confused me about the film was the packaging that suggested a typical Hollywood romantic comedy. That's not what it is at all. What it IS, is a fascinating character driven drama with some very funny moments. It also features some of the best work of the three leads respective careers.

This is one of De Niro's best performances ever and definitely his most underrated. He has too often slipped into the thug for hire role (The Untouchables, Cape Fear, The Fan) but here he creates an extraordinarily well-rounded character that you can completely understand. He says more about Wayne with his facial expressions, the way he holds himself, and his pattern of speech then any of the dialogue in the movie.

Thurman matches him all the way. She perfectly captures Glory. There's really not much more you can say about her performance than that, it is faultless. She never reveals Glory's true intentions AT ALL during the film, make your own mind up. Does she really want to be with Wayne or is she just using him to get away from Frank Milo. Even right at the end, there's a hint that she is still just 'doing Wayne a favour'.

Bill Murray is the big surprise. He effectively balances the menace and humour of Milo. You feel his frustration in the life he leads , by the way he looks at his henchmen, the way he tries to befriend Wayne. It is a strong yet subtle performance and Murray proves he is far more than just a funny man.

David Caruso and Mike Starr are also excellent in their respective supporting roles.

Scenes to watch out for are a touching "bad sex" scene. How often do we see this, usually sex in the movies is either terrific for those involved or played for laughs but Mad Dog and Glory dares to be realistic. Also watch for Wayne singing along to the dukebox and the scene when Wayne refuses to give back Glory to Milo.

The film is always intellingent and never sinks to gimmicky resolutions. It's slow and low-key which may turn some people off. But if you like character driven movies then you'll love this. This film seems to get better every time I watch it. It's truly one of the hidden gems of 1993.

9/10

A surprisingly strong script and solid acting performances saved what could have been a mediocre story involving cliché stock characters. As it turns out, the movie features a sensitive portrayal of a wanderlust cop, his wirey and scrappy colleague, an off-key loan shark, and a vulnerable girl. Each of the characters was subtly amusing and unique-- but not framed to be cartoonish. If the script had attempted to go in for more jokes, the movie would have suffered-- how many movies involve a disgruntled cop and a mob guy who sees a shrink? Too many... Many that often rely on overplayed cliché and slapstick to deliver. Or they go in for the melo-drama. Instead, the film just hopped along, taking the quirky story seriously, producing a film that is neither screamingly funny nor powerfully dramatic but instead small, light, and mildly interesting. Picture a just slightly-darker Mickey Blue Eyes, with a happier ending, a more interesting set of characters, and less humor.

I keep on watching this movie and i like it more every time i view it. I am very surprised with Bill Murray's character, it was something diffrent from his usual parts. This movie is a black comedy and it's very very funny in parts, some great performances here too especially from Bill Murray who i never expected to see working with Robert DeNiro. This ones a keeper.

Mad Dog and Glory (1993)

**** (out of 4)

A lonely and wimpy cop (Robert DeNiro) saves the life of a mobster (Bill Murray) so as a thank you gift the mobster gives the cop a thank you present for a week in the form of Glory (Uma Thurman). The two eventually fall in love but since she's still the gangster girl there's going to be a problem with the cop trying to keep her. I still remember when this film was released as it got all sorts of very good reviews but it didn't really catch an audience, which is a real shame but the bigger shame is that it still hasn't become too well known even after fifteen years. To me this is one of the best comedies of the decade and a film that gets better with each new viewing. What makes this comedy so special is that we get two great actors changing their roles and playing the opposite of what we're use to seeing them do. I also think this is one of DeNiro's greatest performance just because of how fun he is here. We're use to seeing him play dark and tormented characters so it's great fun seeing him at the opposite end of the pole and playing a real wimp who really can't do anything right. Murray is downright wonderful in the role of the mobster who wants to be a comic. Murray's comic timing hits all the right notes and he even manages to come off threatening in the scenes where he has to try and rough up DeNiro. Thurman is easy on the eyes and comes off very well. Supporting players David Caruso, Mike Starr, Kathy Baker and Tom Towles also shine in their moments. Starr isn't very well known but he's always been one of my favorite character actors and his brand of comedy adds a lot of great scenes to the film. All of the comedy leads to a wonderful street fight at the end when DeNiro finally snaps and becomes the "Mad Dog", which is a hilarious sequence and in my opinion one of the best street fights in any movie. After seeing DeNiro's character being bullied the entire film, to finally see him snap was very exciting and funny.

If you don't like movies that are adequately summarized in a 20 second spot, if you do like to see actors work against stereotypical expectations and do it well, if you don't believe people or endings are all good or all bad and you're OK with that, this might be a movie you will want to add to your collection. DeNiro is doing the expected only in that he is practicing his patented shape shifting technique -- I found his characterization both believable and involving. Murray gives his first great serious performance -- who knew he could be menacing? Uma is hard to figure, in the way conflicted people often really are. David Caruso gives the most out-there performance I have seen from him, and in this movie it works. (I didn't know him in his first TV cop series, but this character is nothing like the one he plays in CSI Miami.) You might even find yourself rethinking what really happened, and liking that, too.