Le tigre

The stage curtains open ...

The first time I saw the poster to this movie, I thought it was going to be another action-filled vehicle similar to "Road House", but it was nothing like that. When I read the synopsis to the film on the back, I realized it was the exact opposite - a family drama that hit on a few heavy topics. Regardless, I picked up a copy and watched it. I like a good drama as much as the next person.

It is the story of a prodigal son, outcast from his family after a harrowing event (of his doing) that emotionally scars them, and himself. Fifteen years later, after living a lost life, he returns home hoping to find reconciliation and forgiveness with his mother, sister, and most importantly, his father who hasn't been the same since. His sister has moved on with her life, getting ready to be married. All of his friends are married with kids, and his parents are living a quiet life, finding respite with each other. Finally, things come to a head and heavy decisions have to be made.

I can see how some have enjoyed this film. Overall, the acting is pretty good, though a bit over dramatic in some parts, and underwhelming in others. The consistency here is sorely lacking, and the movie ultimately comes off as completely disjointed and nonsensical. This is clearly one of Patrick Swayze's worst films, as even he didn't seem to be invested into his role. Everything was off kilter ... the plot and character development never happens. The level of believability is next to none. Even with some good actresses on board with Piper Laurie and Mary McDonnell, it all crumbles to the ground.

I can't justifiably recommend this movie, not even to a die hard Swayze fan. It was a disappointment on most levels. It actually had the feel of a made-for-tv movie, and not a very good one at that. This is a pass, and gets 3 stars out of 10 at best. There are some other, much better, Patrick Swayze films out there ... and that is where your focus should be.

It's hard to honestly express the virtues of a film that is generally regarded as sub-par without going too far in the other direction. It's not that "Tiger Warsaw" is a complete success, indeed, there are many things that just don't quite work. Patrick Swayze, though his top billing is certainly the only reason this film has reached its relatively small audience, never quite fills out his character believably. That, and the somewhat low key feeling of the overall production, serves to play against the very same things that most potential viewers are looking for.

But there are very many good points. This is an exceptionally beautiful film to look at. Robert Draper's cinematography is cold, aching, with a powerful understanding of light. These scenes feel like real life of the kind we all know, not some imitation or expression of style. The director, Amin Q. Chaudhri (who made the similarly quiet drama "An Unremarkable Life" the following year), pulls back from his actors in the best possible way, observing their simple actions rather than trying to be over-dramatic. The story is well-realized in execution, but not entirely well-written. Roy London has a certain understanding of dialogue and character that is evident, but his plotting leaves something to be desired. There are avenues taken that seem unlikely, and others left untouched that could have been effectively explored.

But this is a real film. There's no over-acting, no showing off. There's a lot of humanity, and some heartbreaking performances. Piper Laurie is incredibly human, fully alive in her role. She might be remembered for more extreme roles like in "Carrie", but it's films like "Rising Son" and this production that show her depth.

I recommend this for its visual beauty, and its quiet understanding.

This was a surprising role for Patrick Swayze after the run away success of Dirty Dancing, but perhaps he wanted to secure himself as a character actor rather than simply a dancing, smouldering romantic lead. And this he does. Whilst this film doesn't garner much attention, it is nevertheless a piece of drama of high calibre. Overall, it is uplifting and a story of triumph and love, but it gets there via the medium of a rather dreary, grey film full of clever direction that takes advantage of the mill-town backwater working class experience and turns it into something stylised and arty. The scene cuts, if you watch them, the use of silence, the use of bells or the train whistle, Tiger's frustration and mounting anger set against the rolling stock of the train going past... it's actually rather beautiful. The stand out performances are most definitely Swayze and Barbara Williams (Kiki) and you can see her powerful stage presence clearly - I can imagine she was a wonderful Lady MacBeth. Piper Laurie I thought was too contrived, her face immobile (all the female characters except Kiki had FAR too much make up) but emotive and honest; you were very much sympathetic to her but much of the rest of the acting was mediocre with exception of Lee Richardson, the father, and there were some remarkably tender scenes between the two parents. The child actors - Kiki's children - were terrible. Swayze showed a range and depth demonstrating how good he was, especially with the backdrop of very little by way of excitement or colour; it really was him, the camera and little else except raw emotion a lot of the time. He carried the film. It was definitely an 80s film and it looks old and weary, brought to life by Swayze in his prime, and he looked amazing.

This film has at it's heart a family crisis and the longterm effects, guilt, regret, fear, heartache, self-loathing and misunderstanding that can poison a family, and a community, and how reconciliation can be achieved and the painful process it can be. It is clear what the crux of the crisis was, it is shown through increasingly revealing flashbacks and through dialogue, and with the spectre of drug and alcohol abuse it is plausible and relatable. I had not seen this film for a long time, and forgotten how lovely it is, but whilst I enjoy it, I am well aware that it's not a great film.

Director Chaudhri's foreign birth comes through loud and clear in this mess of a movie. Swayze's Tiger Warsaw has supposedly done something so terrible it has turned his entire family against him, but it's never made clear exactly what this horrible deed was. Peeping Tom, maybe? When he meets up with an old hometown buddy their reaction to each other can only be described as homosexual, but nothing further in that direction develops. There is also another odd and brief scene in a bar where he is accosted by another old classmate who is now a cross-dresser. I can only assume this kind of stuff has some meaning in India or Pakistan, but it makes no sense in an American movie. Which is obviously what the studio thought since they premiered it outside of the USA. The only good things about the movie are the cool motorcycle jacket Swayze wears throughout, and the bitchin' '68 black Road Runner he drives.

Paced akin to that of a funeral, Tiger Warsaw sees the loveable Patrick Swayze trapped in time as a 70s greaser coming home in a melodramatic tale of reconciliation. There is no other reason to seek this out outside of Swayze, who broods sentimentality throughout the movie with an unshakeable boyish charm, he's just been saddled with a truly terrible screenplay. Drifting drearily along until, with about 10 minutes to go, it ends in a rushed wrap, as though somebody suddenly realized that time was up. It's mainly just a series of encounters with no oomph or style while Amin Q. Chaudhri's direction leaves most of the film completely incomprehensible with poorly lit and uncomfortably long shots dominating the runtime. If I can give it any form of praise outside of its main star, some of the songs on the soundtrack do slap but, other than that, Tiger Warsaw is a fraught movie that lurches between trauma and tearjerker. Driving towards a predictable conclusion, carrying the dubious message that matrimonial bliss and domestic harmony is the ultimate aspiration.