Filho do Nobel

Greetings again from the darkness. "Bottle Shock" director Randall Miller is back ... only "Nobel Son" was filmed first (you really have to love the Hollywood system). While "Bottle Shock" was a pretty straight forward re-telling of a wine industry break through, this film takes us on a dark ride with blazingly quick turns. It can be taken as a entertaining thriller/who-dunnit to who, or even as a psychological study on egotistical, domineering parents.

Much of the "Bottle Shock" crew is back ... Alan Rickman, Bill Pullman and Eliza Dushka. Add Mary Steenburgen, Shawn Hatosy (Outside Providence, The Cooler), Danny Devito and Ted Dansen, and you have an odd, but talented cast to deliver your odd, but entertaining film.

Alan Rickman plays the role he seems born to play ... arrogant self-diagnosed genius. His family and co-workers somehow tolerate him despite his blindness to their own talents. This is especially problematic once Rickman becomes a Nobel Prize winner. Without giving anything away, his son, played by Bryan Greenberg (Prime) is kidnapped and held for the $2 million Nobel prize money ... by a guy with ties to Rickman's character. That is the simple part. After that, the script flies through its twists and turns creating quite a mess of fun! Bill Pullman is the detective on the case and he draws from his voice pattern as the odd realtor in "You Kill Me", all while pining for Steenburgen ... who is a brilliant forensic expert in her own right. Danny Devito takes an odd turn as the Reformed OCD gardener who has a couple of memorable scenes. Eliza Duska (the bar owner in Bottle Shock) is quite memorable as the stunningly dark poet who captures Nobel Son's heart the evening before he is nabbed. Coincidence??? What I find most interesting about the script is that it could have focused on any number of story lines. Steenburgen, Rickman and Dushka all have characters that could be developed further. But it really works here to have the division and balance.

My only warning here is to be prepared for a Guy Ritchie-type experience. There are times of rapid-fire edits and crazy techno-mod music that will challenge your ability to follow along and keep up. I believe it just adds to the fun in this case.

I just came across this on Amazon streaming. In all I can't say it isn't a really good movie but it is done in such a quirky style, and even has a female character named City Hall, that it remains interesting. As the story unfolds it is easy to follow and by half-way we pretty well understand what all is going on.

But then we don't. Most of what we believe during the first half is mutated in the second half until the story changes completely. There is no great message here, it is just a mostly entertaining fluff of a movie.

Alan Rickman is good as the morally bankrupt professor and Nobel winner. Bill Pullman almost reprises his role from "Zero Effect" where he is a sharp eyed detective able to piece together arcane clues.

"Nobel Son" is one of the more entertaining movies of the year. It is an intriguing, quirky mix of quick-cutting, edgy direction; an outstanding cast; and some unusually literate text and sophisticated in-jokes for the who-is-doing-it (rather than who-done-it) genre.

Randall Miller is the MTV director, Miller and Jody Savin - each with a rather meager resume as a writer - are responsible for the winning script.

It's rare and fortuitous these days to walk into a theater to see a movie whose plot you know, and still be engaged and surprised. Such is the case here.

With deliberate exaggeration and advance apologies, I'd compare "Nobel Son" to "Sleuth" both for its tit-for-tat, now-you-see-it/now-you-don't continuous cliff-hanger nature, and the sense of amusement and fun even through some rather harrowing action. "Son" is *like* "Sleuth" in the true sense of that grossly abused word: having some of the same characteristics.

Only a great English stage actor such as Alan Rickman could make the silly cartoon figure of Eli Michaelson believable - and he does, becoming sort of likable in his unfettered loathsomeness. Michaelson is rotten to the core, antisocial beyond the worst case of Asperger's, plus a miserable human being - and the winner of the Nobel Prize in Chemistry.

Mary Steenburgen plays his long-suffering wife, a character with a vaguely delineated past as a storied criminal investigator. Never too far from her is Bill Pullman, a detective, former colleague, current shoulder to lean on. Bryan Greenberg is the son, who - as you must know from all the ads and buzz - is held for ransom, apparently by Shawn Hatosy, a young actor who more than holds his own against the veterans in the cast. Danny Devito and Ted Danson show up, unnecessarily but - in the case of Danson - not irritatingly. Eliza Dushku has a star-turn debut as City Hall (that's the name), a looney poet, painter, and fornicator (their word, not mine).

There is something inexplicable about the cinematography: everybody in the cast looks like hell, sans makeup, sans Vaseline-smeared lens, sans everything. Pullman wins the race to Showing All the Pores, pasty-white, as unattractive as possible, but the others - including the women - are not far behind. A new trend? Makeup crew on strike? Who knows? For sure it's distracting, but "Son" is too good to allow this stupid quirk to interfere.

I attended the World Premiere of Nobel Son at the 2007 Tribeca Film Festival. That's Nobel as in Nobel Prize, and it takes the festival prize in my book. This winning film, from writer/director/producer/editor Randall Miller (did he make lunch too?), is on my list of Top 10 Picks from among the 30 I saw at this year's festival.

Professor Eli Michaelson (Alan Rickman) is about to win the Nobel Prize. His son Barkley (Bryan Greenberg) is a promising Ph.D. candidate wanting little to do with his father's pomposity. A scheme is hatched which is sure to pit father against son in a way to maximize their inherent rivalry. Let the madness and mayhem begin. In addition to Greenberg and Rickman, Nobel Son stars a troupe of talented veterans including Bill Pullman, Shawn Hatosy, Danny DeVito, Mary Steenburgen, Ted Danson, Ernie Hudson, and Eliza Dushku.

It's always hard to single anyone out in such an amazing ensemble cast. Greenberg, the titular son, is a worthy protagonist. The roller coaster ride on which he is taken is chilling, yet his upper crust background and bravado veneer cannot hide his childlike innocence. It is that vulnerability which sucks us in and compels us to look even when we would rather look away.

Shawn Hatosy is one of the most prolific and versatile young actors in the business, and he is frighteningly brilliant here. The intensity he brings to this role never lets up from start to finish. Nobody is better at psycho-scary. Many will be blown away by his performance. If he wasn't on your radar before he will be after you see Nobel Son.

Alan Rickman provides most of the comic relief in a film that is much more dark than comedic. A lesser actor could have turned in an over-the-top performance which might have tipped the scales in favor of the lighter side of this film. That would have spoiled the intensity of the violent escapades these young men partake in. But he manages to play the buffoon as only a legend can.

I was quite surprised by the look and feel of this film. It's much more stylized than one might expect. Digital effects and clever camera work help take what could have been a standard caper movie (a la Oceans 11) and turn it into a psychological thriller, emphasis on the thrills. It is such a fascinating story and an amazing script, and kudos to Randall Miller for being able to create a work which defies categorization. Gasps and laughs are traded back and forth, yet it manages to toe the line between comedy and tragedy without losing its focus.

If Kubrick inhaled nitrous oxide while making A Clockwork Orange, it might look something like Nobel Son. It will keep you on the edge of your seat, literally. Nobel Son is a breathtaking, refreshing escape from convention.

Nobel Son is a labyrinthine clockwork plot that involves one of the trickiest, slickest heists since The Italian Job or the first and second Ocean's films, a con game with more twists and hairpin turns than a script by David Mamet on coke, and a theme of desire for revenge that seethes even more after dubious narrative about-faces. The heist and con game film and the revenge story are a surefire mix for me. But I felt like I was trying to watch a great heist movie at a rave party. Whether techno music is good or bad, it renders you a slave to its beat. But I wanted to be a slave to the movie's beat. It's difficult to do both. Hence, the film is a more difficult viewing than it needs to be.

As a philandering chemistry professor who as a laboriously detestable character drives the story by winning the Nobel Prize in Chemistry, Alan Rickman is the definite anchor for the ensemble cast of characters, all of whom are pawns in the script's scheme to weave the jazziest web the genre's seen in years. It could have easily achieved that goal were director Randall Miller contemplative enough to understand the effects of the audiovisual medium of film. There are not only sequences which require a much different kind of music, but there are several sequences which would be much more impacting to the tension of the unraveling story's pace without overscoring at all. Nearly every American genre film has sequences handled in the less effective way, but few of them soar into the depths of its extreme.

Rickman is the flagship but Mary Steenburgen is no less charming as his wife. A woman can be married to a man like Nobel Prize-winning chemist Eli Michaelson purely by being masochistic, deranged or in control of a deeply sophisticated feel for bitter sarcasm. But in spite of there being plenty of pleasant surprise in bit roles by Danny DeVito, Ernie Hudson and Bill Pullman as well, there isn't much room to talk about their performances, which are compartmentalized into roles that serve more as functions than characters to create a remorseless plot. Each character's occupation has much more to do with how they could come in handy to tie up loose ends than with who they are.

Nevertheless, this caper takes you for a turbulent excursion, because whether or not Randall Miller or his wife and co-writer Jody Savin have crafted a top-drawer entry into the con game genre, they remember that confidence tricks manipulate human weaknesses like selfishness, corruption and ego, as they are all things a con artist possesses himself, but also exploited are merits like honor, charity or a forthright belief in good faith on the part of the con artist.