Dans la brume électrique

First, there's the great French director, Tavernier, who made many films Americans missed. But at least most remember "'Round Midnight,'" an amazingly done jazz film with the late Dexter Gordon. Then there are the great actors, from Tommy Lee (who did indeed "nail" Robicheaux), but also Ned Beatty, Mary Steenburgen (who made the ordinary character of Bootsie bearable), the other great director John Sayles (as a director,of course) and countless lesser known character actors. The production values are superb. I've read most of Burke's novels and the sets of Dave's house, the dives he visits, the bayou, all of it are exactly as I'd imagined. The writing is good and I don't get why people think the story is confusing. But there is one major flaw (for me) that rankles. Why cast musicians (Levon Helm, Buddy Guy) in roles that really need strong acting? Helm was a great drummer for The Band, but I've never seen him act with much conviction. And the character of the dead Confederate general requires strength. Hal Holbrook would have been perfect. Then there's Buddy Guy, a great Chicago blues man, but he's no actor. He seemed almost to be reading most of his lines from off camera in one scene.

You cannot put strong actors in the same scenes with weak ones. But good actors together can make a scene--witness the last confrontation between Tommy Lee's Robicheaux and Ned Beatty's Lemoyne.

So, solid direction, much strong acting, faithful to the book, great sets and setting, all brought lower by some bad casting. Still, I think this one deserves more respect, especially compared to many of this year's "Oscar worthy" films.

Tommy Lee Jones has either read Burke's books or he is really that good. Unlike Alec Baldwin's Robicheaux in "Heaven's Prisoners" Jones has the complex nature of Robicheaux's personality down. Jones can deliver on the character's contrasting moods -- the sensitivity of his care for others versus the fire of his smoldering anger. Good flick. No stupid CGI tricks, no political correctness, just a good old fashioned crime mystery with a very riveting main character. There are some unresolved elements regarding the Goodman and Beatty parts but the dogged pursuit of the criminal element by Jones is worth the price of admission. I've read all of Burke's books and this is as close as anyone is going to get to myriad aspects of Dave Robicheaux's tortured soul. Burke fans disappointed by "Heaven's Prisoners" should see this one.

Filled with bayou atmosphere, the film follows Louisiana detective Dave Robicheaux as he sorts through two cases that tie together past and present, history and future, black and white, rich and poor. The cultural tension that permeates the movie creates the backdrop for a psychological crime drama whose suspense comes primarily from the personal conflict of Robicheaux. The crime action itself serves more to buffet the lead character on his internal journey than to create an action-heavy thrill-ride.

In the Electric Mist is rich in atmosphere, and that is perhaps its strongest point. All aspects of the film-making process come together to drive home the feeling of the Lousiana bayou, from the detailed sets to the slow pace to the contrast between the simmering intensity of the true Louisiana folks with the outlandish extroversion of the outsiders and the locals who have been won over by Hollywood culture. It is a movie best experienced with your full attention.

There is a strong sense of suspense in the film, but it is delivered through tragedy and the search for resolution, not high action. While Tommy Lee Jones delivers the sort of performance one might expect and there are certainly plenty of thriller mainstay elements, this is not an action piece, an in intrigue, or a intricate mystery. If you cannot get invested in the tension of a complicated shades-of-grey lead character and his search for answers to questions that may not e fully expressed, the suspense will likely escape you and you will be left with a slow movie with an unsurprising plot. And if you cannot get absorbed into the play of contrasts and dialectics within the fabric of the rural Louisiana cultural fabric, you probably find the message trite, the ending too neat, and some of the performances (e.g., John Goodman as Baby Feet Balboni) as over-the-top and distracting. But if you can allow yourself to experience the film through Jones' Robicheaux, you will find yourself sharing his internal conflict, delighting in bright spots of energy like Alana Locke's Alafair, and clinging to a misty hope for resolution.

French director Betrand Tavernier usually makes (excellent) films in his own language; but 'In The Electric Mist' is set in deepest Lousiana, and not the Cajun-speaking part either. It's a solid police procedural, but it never rises to the heights of Tavernier's greatest work: one by one, the bodies mount up, strangely without causing anyone but the hero exceptional concern, while the overall portrait of the deep south is somewhat clichéd, a racist place (although the real villains are more misanthropist than particularly racist) but one where the ghost of a confederate general is somehow also a symbol of honour and decency. Tommy Lee Jones puts in a decent turn in the lead role, and I also liked the soundtrack (though it sounded more like mountain than bayou music to me). It's a watchable film, but not one that takes its viewer in any surprising directions.

There aren't too many movies where you find that each and every actor seems realistic, without overplaying his or her part. I definitely have a bias towards moody, dark Louisiana movies with psychotic killers and corruption. This movie has all the virtues of that genre. Tommy Lee Jones is excellent as a worn-out, aging, alcoholic detective (on the wagon) who has a strong moral sense, but cuts corners when he deems it necessary.

John Goodman is so versatile that I didn't recognize him as the same actor who was in The Big Lebowski which I had watched only the day before. The script was so adept that they handled the issues of race relations in what I considered a realistic manner without any preaching. The settings, whether swamps at night, Southern mansions, broken down shacks, or merely country scenery all seemed highly realistic. The editing was excellent. Thus, the timing of most scenes was just right, so there wasn't the problem of boredom.

The only reason I gave the movie an 8 rather than a 10 is that it suffered from too much mumbled dialogue, so you have to be willing to live with about 25% of dialogue shooting past you (unless perhaps you are from "Loozyana"), and perhaps missing some of the relationships between people early on. However, while this meant that you might miss out on some of the subtleties, the story is not that fast moving and complex that it warrants bypassing the movie, given all its virtues.