Pânico

I gotta stop buying DVDs sight unseen. It happened with Affliction and now with Panic. I bought into the rave reviews and felt disappointed after watching it. This could have been a truly great film...if ONLY they had focused on the father/son relationship and left that godawful May/September romance on the cutting room floor. If only Neve Campbell's character had some smarts, maybe even a little class to separate her from the rest of the LA airheads it MIGHT have worked. She was nothing but a tease and it distracted from the movie greatly. She and Macy had NO chemistry together and their scenes were a total waste of time. Every time they were on screen together, you keep asking the same thing: When are we going to see Sutherland again? I'm a child of the 60's when movies were VERY good. So, when I hear some young person praise a recent movie as great, I must remember that "great" movies made today would have been only "good" in the sixties. I refer back to what I call the John Carpenter Syndrome. It works like this. John Carpenter made some good thrillers/horrors back in the seventies. But compared to the crap being produced today, they seem like GREAT films. People must remember that they're good films existing in a garbage heap of crap will seem better than they are.

This film has so many good things about it that watching it was frustrating for me, since I could never swallow the story line.

William H. Macy plays Alex, a hit man who is carrying on the family business under pressure from his father. The first obstacle for me was accepting the mild-mannered Macy as a hit man. I can accept the fact that there are hit men living in apparently normal circumstances and keeping their business a secret, I just did not accept Macy in the role. As the father I suppose Donald Sutherland portrays a person who is amoral enough to be a hit man, but there again there was some hardness lacking. Think of the hit men in "The Godfather" and compare.

The next obstacle was believing in the relationship that developed between the young, beautiful and lively Sarah (Neve Campbell) and the confused, middle-aged and withdrawn Alex? What was there about Alex that would attract Sarah, who was shown as predominately lesbian? I didn't see it.

The scenes with Alex and his six year old son Sammy were touching and were the only scenes where Alex seemed relaxed and engaged. But the kid spoke in a manner way beyond his years and clearly was just reciting written dialog.

Alex has kept his death-dealing profession a secret from his wife. Supposedly he made a living by running a mail-order business selling lawn ornaments, kitchen gadgets, sexual aids and such. Does his wife really think that he is supporting the family with that kind of business? She would certainly have to be involved in such a business to make a go of it, and consequently she would know about the finances and see that things did not add up.

The dialog tended toward the affected. For example the first lines in the movie have Alex saying to himself, "Do you ever get the feeling that you're dead? Like some dog lying on the street that's been hit by a car and left there to rot." Does anyone actually talk to himself like that?

The music tries to add an element of suspense and threat but I felt it was too intrusive.

Having said all of that, the beautiful photography saved this movie for me. The settings are artistically composed and the lighting impressive. And the actors are all in good form. It's too bad that all of this talent was not put to better use.

Panic is a sneaky little gem of a film - you think you have it figured out by the first half hour only to realize, with great pleasure, that Henry Bromell is a much better writer/director than that.

The film builds slowly, with one quietly devastating scene after another, all enacted perfectly by William H. Macy, Donald Sutherland, Neve Campbell, Tracey Ullman, John Ritter, and the most remarkable child actor I've seen in a long time, David Dorfman, as Macy's son, who delivers his lines as if they're completely unscripted thoughts being created in his mind. Rich and rewarding, this film will stay with you long after the credits have rolled.

PANIC (2000) **1/2 William H. Macy, Neve Campbell, Tracey Ullman, Donald Sutherland, John Ritter, Barbara Bain, David Dorfman. (Dir: Henry Bromell)

Character actor William H. Macy has that certain beleagured, world-weary, kicked-dog look about him that fits like a cheap suit but all the same a perfect match for his deceptive moping demeanor. In this black comedy he plays Alex, a depressed contract killer who decides to see a therapist to come to terms with `the family business' with his overbearing father (the always underrated and subtly silky Sutherland) who taught Macy in his preadolescence the fine art of killing for a career. Unbeknownst to his adoring wife Martha (a surprisingly low-key dramatic turn by comedy superstar Ullman) and his precociously wise-beyond-his-years 6 year old Sammy (newcomer Dorfman; cute kid), Alex is seeing Dr. Parks (Ritter) on the sly and his only confidante is his mother (Bain, who seems to have been off the screen radar for some time) who seems like one shrewd cookie (after all that's how her husband got his job!) Unsure of the risk in seeing the shrink, Alex continues when he meets in the waiting room Sarah (the wonderful Campbell, in a nicely played role), a beautiful young woman, who is seeing another psychologist in the adjoining office building. He is immediately smitten by her but remains guarded the entire time, plotting for the right moment which never seems to come.

What makes matters worse is his latest offing: to kill Parks. This conflict of interest gnaws at him and only adds fuel to the fire for his desire for Sarah, who also harbors a yen for the gloomy fellow traveler. All this adds up for some sly dialogue, innuendo and ultimately a final confrontation with Alex facing his fears - his father, his `job' and Sarah over his family. Macy is in fine form with his mild-mannered family man clearly at odds with his other life and the desire he has for Campbell who also acquits herself nicely as the bluntly spoken bisexual freespirit. The film pales in comparison to the latest splinter faction of hitmen in analysis fodder (`Grosse Pointe Blank', `Analyze This' and `The Sopranos') yet it balances the fine line of comedy and tragedy particularly thanks to the cool undulating tones of Sutherland (witness his threat to his son in a bowling alley bar that goes from ice cold to sunny as he impromptu dances with a waitress). If you like your noir with a touch of comedy this is the film for you.

Why Panic never got a good theatrical release is easily seen: it's much too smart, and audiences would have probably had a difficult time with it, comparing it to American Beauty in its probing of a midlife crisis, and Sopranos and Analyze This in it's study of illegal goings-on amidst family life. Though Panic may seem to derive from unoriginal material, Brommel's lifelike characters coupled with deft dialogue and observant direction make the film a realistic look at the undoing of a middle aged man.

William H. Macy stars as Alex, a hitman who works for his father's (Sutherland) contract-killing business. He leads a double life, with his wife (Ullman) and son unaware of his real trade. In his middle-age, he becomes increasingly disgusted with what he has done all his life. Under his calm, collected facade stirs repressed resentment for his father's controlling grasp on his life. When he meets a young woman(Campbell) he feels invigored and decides it's time to quit the family business.

The fact that writer/director Henry Brommel decided to make the profession his main character was trying to break away from contract-killing is disposable. He could have easily substituted it with any undesirable profession; his characters are so well-developed and believable, scenes handled so smoothly and realisticly and dialogue written so insightfully and naturally that the focus falls on Macy's conflicted character rather than his job as a hitman. Brommel's script feels like a Shakespearean tragedy, with a definite theme of destiny running throughout.

In Alex, Macy creates a tragic, easily sympathetic character, and turns in yet another brooding, great performance, as can always be expected. Donald Sutherland is also effectively abrasive and abusive as his overbearing father, and Ullman's dramatic turn as Macy's wife is a welcome change for the comedian. Consider a scene in a bicycle shop, where her mood subtly darkens and peaks in an affecting scene of emotional confusion.

Henry Brommel's first feature, Panic is a film that is well-crafted in its sincerity. With a first-rate cast, a plausible script, terse dialogue, and nice direction, this character-study is hopefully just a taste of Brommel's aptness for creating characters that seem real.

8 out of 10