Na Mira do Passado

As films go, this one is pretty average. It is my first time to see Scott Glenn and Theresa Russell acting. In fact, there are no highs or lows as any aspect of the movie goes. Storyline, acting, cinematography, etc. all average. In the cast of characters, however, there is a problem. See my comments of this movie, if you've viewed it.

Some people look for meanings & messages everywhere. There are no messages here, just 2 very sexy people with very good chemistry fighting off those bad guys that are always out there. Nope, this movie is not particularly trendy, but it sure works, like an updated b-movie of old. This is real pulp fiction, not the pretend/pop kind. Railsback knows his stuff, & it wasn't learned in a video store.

She's a NSA spy on the run. He's an innocent bystander with requisite guilt complex. They meet in a bar, spend a (very hot) night together and fall in love. Next day bad boys try to eliminate them, but they outsmart bad boys and begin - you've guessed it! - a happy new life. No problem imagining such a movie as low-budget camp comedy with Shannon Dougherty and Matthew Perry. Or as brainless summer actioner with Schwarzenegger and Neve Campbell\Jennifer Love Hewitt\etc. It's much harder imagining (let alone making) it with Theresa Russell and Scott Glenn - actors, whose personalities automatically suggest more twisted, complex and ambivalent story. A movie with such blatantly unprobable premise needs either Bruchheimer scope or Tarantino touch. Steve Railsback has neither. Former actor turned director, Railback obviously doesn't know how to act behind the camera and simply lets it go as it goes. Good actors caught in bad movie try to rise above the mediocrity but it's almost impossible. They still make some attempts when their heroes stop running, shooting or f***ing and begin talking. No, their lines are as banal as the action, but actors' faces sometimes display emotions unheard-of in the cartoon universe of the movie. When she's got a chance, Russell looks almost convincing in her character's transformations from vulgar broad to desperate woman, but she's still light years away from the image of tough agent. Glenn's situation is especially hard; in movie's clumsy erotic scenes he looks like he's dying of shame. But Glenn's inner charisma greatly helps him in his interactions with Russell when he isn't forced to do anything but exist onscreen. Helas, such moments are very rare and actors are wasted. Railsback, who once was an actor in classic "The Stunt Man", should know that a movie like "The Flight of the Dove" could work only if it was directed by someone like megalomaniac Eli Cross, his evil genius in that old masterpiece.

Watch Spy/Dove closely. Yes, Theresa Russell, Scott Glenn, Alex Rocco, Lane Smith, Joe Pantoliano among others surely are accomplished actors deserving of finer material. But they made this film as Americans were being lulled into complacency. Some involved in Spy clearly weren't.

Today? Spy proves prophetic. Look at the story. Isn't the protagonist Cathy O'Brien by another name? Rogue G-men outsourcing wet work to thugs? Who'd have thought? Not many in '94. Today?

Glenn and Russell's characters find themselves in twisted new world swirling with predatory undertows albeit superficially bland. New realities buffet them like serial tsunamis. Though Glenn's character at first won't see it, his and Russell's are similar. It's how they'll survive in a world in which everyone betrays everyone else.

Joe Pantoliano should have received an award for his performance as smarmy chivato sociopathic lawyer. Yes, redundant. Sorry. His grinning socio-baiter defines lawyers in specific and societal cancer in general.

As a 'great actor', doesn't he make you want to reach thru the screen and throttle him? Did I say something 'intimidating'? Does my visceral analysis of Pantoliano's interpretation constitute a Thought Crime? Will I lose my rights to a false malicious Restraining Order obtained by greaszy larcenous thugs of the sort portrayed in Spy?

Yes, I'm being facetious and for good reason. Art prophesies Life in Spy/Dove. Don't we find ourselves in a not so brave world? Guilty until proved guilty? Ms. Russell's character opted out of the world. Scott Glenn's temporarily defeated character followed. His first step? Fearless demonstration of compassion by pursuing the purse snatchers.

Isn't it telling when G/Thugs witness a home explosion and presume their quarry to be dead? Nevertheless, they advance not so much cautiously as timidly, with guns drawn? Of what were they afraid? Their own treachery? Spy contains insights vital for survival.

Dr. Paul Vincent Zecchino

Manasota Key, Florida

06 October, 2006

"Truth leads a wretched life -

and always survives the lie."

• Cathy O'Brien

This reviewer attempts to describe something of merit within each work under consideration, but with this wretchedly made film, one must slide by the woeful efforts by those who generally provide audience enjoyment, i.e., director, screenwriter, actors, editors, et alia, before finally recognizing the customary able efforts from crew technicians as the sole evidence of adequacy. In a plot seldom coherent, Theresa Russell, billed second, is cast as Alex Canis, A.K.A. "The Dove", an entrapment specialist employed by the National Security Agency (N.S.A.), who gathers her information through acts of prostitution, with a specialty as dominatrix, her clients being Federal government officials, and blackmail undoubtedly a goal for her unit, a "covert section" of the N.S.A. that collects photographs of her activities. Since Alex has written, for therapeutic reasons, a not-for-publication autobiography, her supervisor, after learning of the opus, determines that she must be eliminated, and during her flight from homicidal pursuers, she unites with a discredited demolition expert, Will Rickman (Scott Glenn), who is fighting a lawsuit originating from two accidental deaths within his most recently demolished building and the pair exchange sexual bouquets when not avoiding being killed. In his only stint as director of a feature, Steve Railsback, although a charismatic actor, obviously lacks those skills requisite for guiding other players, since he merely turns Russell and Glenn loose to fish for whatever they might find of worth within a sloppily written screenplay and as these two happen to benefit from a strong director, their mannered performances must rate at the bottom of their portfolios. The liberal footage of amorous thrashing about between Alex and Will is a clear attempt to add mustard for the largely incomprehensible proceedings, but the result is more silly than sensuous, and gives only momentary surcease for a storyline that has more flaws in continuity than can be found in any average score or two of other films, to a point where one feels simply embarrassed for all involved.