The Merry Gentleman

"I'd say we've been pretty good for one another," Kate (Kelly Macdonald)

Well, not quite, but that statement is consistent with naïve young Brit Kate's cluelessness since she's talking to an accomplished assassin, Frank (Michael Keaton), whom she recently befriended and believes to be a good Samaritan. But that sense of being just a bit out of it is characteristic of Michael Keaton's first directorial effort, The Merry Gentleman, as well.

I could feel Keaton struggling to offer a thriller in the David Mamet tradition (without his caustic language) with minimalist dialogue and exposition and a concentration on character. Without Mamet's poetic language, Keaton is left with spare dialogue that barely explains the motivations for abuse and murder involving more than one character.

It is, however, mostly Kate I wanted to know, and I was not fulfilled because of her limited capacity to speak loud and clear. Caught as she is between the growing interest of Detective Dave Murcheson (Tom Bastounes) and Frank, and her abusive husband, this woman causes a great deal of trouble by just being beautiful, caring, and out there. And ignorant of her charm and the kind of rogue male she is attracted to.

Among the several motifs Keaton rams through, the idea of "good" appears regularly. Calling someone good who is not is a cheap way of doubling up on irony but doing little to expand the meaning of "bad." Most of all I am disappointed in the ending. Some closure is necessary in most fiction.

Not a bad film; just not great.

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 Gentleman (Dir: Michael Keaton): The word on the "street" (or shuttle) was "eh" for Keaton's directorial debut, as it was for other gems like "Quid Pro Quo" and "The Escapist". That's too bad, especially considering hot tickets like "The Great Buck Howard" were underwhelming compared to the lower-profile films. The Merry Gentleman is slow paced, yes, but that's an attribute. Keaton doesn't rush anything in his story of a lonely young woman (Kelly McDonald) who is the locus of desire for several men, including her ex-husband (a great Bobby Cannavale), an alcoholic cop, and a suicidal hit-man (Keaton). He honors the complexity of the situation with an ending as open ended as it is authentic. It is a glowingly photographed, impeccably performed magical realist drama, one that I'm glad exists in a market where it cannot thrive (just like the best Alan Rudolph films). Taking place during two of the loneliest holidays (Christmas and Valentine's day), The Merry Gentleman is also a great religious film, movingly detailing McDonald's faith as she in turn becomes a figure of worship for men with a variety of intentions. It even ends with a resurrection. As a primer on our ability to "save" each other, this is nothing less than rapturous, and Keaton infuses the frame with snow, fluorescent light, and human encounters that match the melancholic beauty of the frame. With Game 6 and this film, Keaton has proved to be one of our most reliable and literate actors. He is also a knockout director. ****

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.

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.