Le client

Susan Sarandon should stick with the tough minded lawyer more often. Perfectly cast in the role of Reggie Love, she brings a certain charm to a role which could have lacked in that department. And to make matters even tougher on her, she was almost outshined by Brad Renfro, who made quite an impression in a film such as this. While the film was put together in a rather conventional way, with Tommy Lee Jones playing an over clichéd character, the film is still rather gripping. A decent film to have in your collection, and one of the better John Grisham book-turned-movie adaptations.

Wow, what a cast! And they all deliver the goods too. Susan Sarandon is an exceptional actress. Watch the scene in "Dead Man Walking" when she visits the family of one of the victims. She doesn't just sit quietly. She actively "listens" to them. And Tommy Lee Jones uncovers the comic side of his dashing political lawyer. Even the eleven-year-old kid gives a spot on performance, anything but cute, which is a relief. The smaller roles are equally well done although there is less to be done well. J. T. Walsh is always good. Mary-Louise Parker never makes a wrong move as the stressed-out mother. Ossie Davis is a monumental presence as the judge. Bill Macy is given only a few lines.

The script isn't bad either, especially in the first half of the film, in which the characters are being established. There are, alas, three clichés.

The bad guys LOOK like move bad guys usually look. They dress in black, have long greasy hair, are engraved with threatening jailhouse tattoos of barbed wire and things, and they never seem to enjoy themselves.

There are also two stereotypical scenes which really should have been avoided. In the first, the boy, Renfro, is trying to sneak out of a hospital. He pokes his face through a door into the reception room, where he sees his mother and two cops walking around. In the shadows he also spots the man he knows is trying to murder him. So what does he do? Does he run to his Mom and the police for protection? Certainly not. He does what aay potential murder victim would do. He dashes away from safety, down several flights of an empty stairway, followed closely by the squinter with a knife. The scene that follows is lifted straight out of "Coma," with the killer being locked in a refrigerator.

The other stereotyped situation is towards the end, when (just by the most improbable of coincidences) Sarandon and Renfro reach an empty boat house at the same time as three of the heavies. The two innocents try to avoid being discovered. There is a lot of tiptoeing around on creaky boards, a foot chase through some bushes, one of those scenes in which one person holds a gun on a second, and the second smiles and says, "You don't have the guts to pull the trigger," and walks up closer to the muzzle.

I've pointed out these weaknesses not because this is a bad movie. It's really pretty good. But the cast is so outstanding that any weakness in the story is the more highly illuminated.

See it, if only to see the range of facial expressions into which Jones is able to fashion his face.

Mark Sway is a real hero here, although he is not only a mere child, but a disadvantaged child in the middle of adult power structures breathtaking in their deviousness and casual cruelty. The theme of youngsters forced by circumstances into adult roles and responsibilities, particularly in being more level-headed and mature than their parent(s) has become as strikingly common in contemporary literature as it was strikingly uncommon until about a generation ago. But there are ample parallels to real life in pre-Romantic history. It is really our modern assumptions of prolonged childhood and adolescence which are abnormal in the fuller perspective of human experience. Aren't we on the verge of these concepts' retreating from the apogees to which western culture pushed them in the 19th and early 20th centuries?

If so, this film is on the cusp of the trend. Yet it might never have worked but for the director's good fortune in locating Brad Renfro for the lead role. What a find! His earthy, protean spunk and obliviousness to any cute brown-nosing towards his elders, simply because they are elders, make him entirely convincing in the part. He is, I hope, on his way to being a great actor, but perhaps it will continue to be this film which shows his freshness most clearly.

Not that it isn't very taut cinema in other regards. The build up of drama in the opening scenes is superb, with acting, cinematography, and the score all combining to provide a seamless experience. As one critic put it, it starts like a house afire, and the fire never goes out. This is a film one can see again and again, noticing additional fine touches each time.

I saw The Client in the cinema when it was all the ralge to go to the cinema. I thought The Firm was better, but still, The Client doesn't necessarily disappoint. But I expected more from a cinematic experience. The Client could have been a more than decent TV film I guess.

'The Client' is perhaps one of the many films that won't be enjoyed as much after one has read the book. I, having not read John Grisham's novel, quite enjoyed it. Sure the movie has its flaws in the form of plot holes, caricatures, obvious clichés etc, but it essentially manages to keep the viewer engaged. 'The Client' is further backed up by strong performances. Susan Sarandon makes full use of her powerful screen presence and easily stands out. No wonder she's an exceptional actress. Reggie Love is one of her most memorable performances (among the so many she's already given). The late Brad Renfro, as the young Sway, is very competent and does impress in several scenes. Tommy Lee Jones is funny (both intentionally and unintentionally). From the supporting cast, Mary-Louise Parker leaves a mark. William H. Macy barely has more than a few lines but has a dignified presence. The villains both look and act like caricatures. In a nutshell, it's an interesting film with a flawed but gripping plot and marvelous performances.