Dans la brume électrique

Why this movie went straight to DVD is beyond me. The mood is pure southern Gothic, the acting is terrific, and the story is complicated and sad.

The performances were dead on. TLJ hits Dave Robicheaux on the button. But the best is Mary Steenburgen as Bootsie. She really nails this part.

The story is about a Cajun cop who is haunted by his own demons, and by the demons he faces in his work as an Iberia Parish Deputy. The characters he meets in trying to solve the murders are so true to life that you wonder if the people playing the parts were really actors. John Goodman is great, as usual, as is Ned Beatty.

While a good old fashion murder mystery awaits you, what is more important, as it is in the novels by James Lee Burke, is the story of Robicheaux. He is a man who has a strong moral code, yet is violent, alcoholic, and continually puts his family in danger. The complexity of his character is difficult to portray, but TLJ does it better than anyone else could.

It is a fine, beautiful movie. Now if only another movie could be made that also includes Clete Purcell, one of the best sidekicks ever written in a mystery novel series.

I've just seen the 117 minute version, and it works. People seeing this on DVD should check that they have this longer version. The complaint is that the movie is incoherent, but in fact as well as crime movies do; all layers are brought pretty well together. The mousetrap snaps. Meanwhile, beyond a noir of earlier days, there is an attempt to deal with crimes both old and fresh, and a dramatization of a detective's inner debate through his projection of a Confederate Army general. And some of his troops--there is froth in details, as there is with the manner and antics of "Baby Feet" (John Goodman) and even his automobile. Froth in excess is that a detective, even if he is played by Tommy Lee Jones, should smash the faces of persons he is interrogating. For planted evidence, see the last scenes. There is what movie rating calls "language," all for the better.

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.

I read the book last summer and was anxious to see the film. If you did not read the book you might find things confusing. Unfortunately they did not expand on the mystical episodes that Elrod and Dave have regarding the confederate soldiers and how Elrod stays with Dave for a time and the really confusing part on how Dave was shot outside the club by the "dead" woman. In all, it followed the book and was very well acted, but it left too many important "book" parts out. Tommy Lee Jones was great and I think he made a terrific Dave, but I'm sorry they didn't show more of Peter Sarsgaard; he's such a terrific actor and in the book his character is as "insightful" regarding the confederate soldiers as Dave. If you read the book before watching the movie, you'll get it. I really enjoyed the movie.

Most of you have probably never heard of Tavernier, which is a shame as he has at least two masterpieces under his belt. The American DVD release is not only cut by 15 minutes, it is also drastically different in structure and tone. Think Leone's American cut of Once Upon a time In America. You didn't like that, did you? Well, to be honest neither of the films are perfect, but the American DVD is UNWATCHABLE. At least the director's cut is the way Tavernier preferred; and actually a middling thriller that is worthy of giving a spin. Gone is the made for TV pacing and ludicrous ending, and while it's not his best work, it will probably entertain you enough.

The acting is serviceable in both versions, but the lack of a back story (and thus motivation) makes some of the character actions seem out of place and silly.

I happen to like Heaven's Prisoners a lot more than anyone has any right to, and I think Tommy Lee Jones is a very good replacement for Baldwin. Gone is the optimistic charm of old Dave, hello new Dave that is bitter by what life has shown him. But a lot of that is lost in the American DVD.