The Missing Person

The cinematography in this film is phenomenal and the direction is superb and skillful. The Missing Person is ultimately tugs at the heartstrings. The lead character played by Michael Shannon is adequate. I don't think he completely had what the role required - something to draw you in. He plays the role too flat. Unfortunately its what brings down my rating on this film to a large degree. I also felt that the script was way too limited in some dialogue or narration. There's one point where you're watching cars following each other for what seems like hours. I was completely engrossed in the beautiful camera and location work in this film and ultimately - I got it.

This movie reminded me a bit of James Gray's movies. Simply shot, actor driven, quiet, sincere, and romantic. While "The Missing Person" is much more of an art film than "Two Lovers," I left with the same feeling of having just watched something very personal and very moving. I don't want to give away too much about this movie, but ultimately it is a film about loneliness and being alone. Sound like a downer? It's not. Michael Shannon delivers his best performance yet as a drunk detective who likes to crack himself up with bad jokes(he cracked up the Sundance audience too.) Amy Ryan, Margaret Colin, and a bunch of other familiar faces provide moments of humor and sadness. Mostly what impressed me about "The Missing Person" was that it wasn't hip or clever. And not fancy either. In fact it was almost the opposite of every movie I saw at Sundance. It was mostly just good, honest film-making . Rare qualities indeed in independent film these days.

Life is often far more complicated than a choice between what we think it's right or wrong. There are so many variables in the game of living, that even after the consequences of the actions we are unable to evaluate the results.

Once again, Michael Shannon surprises us with an extraordinary interpretation of a dense character. The narrative is linear, but the pieces of the puzzle are put together in the right place and time.

Intense darkness and light, irony, sadness, brief fun, every ingredient turns this cocktail into an extraordinary beverage with an exquisite taste.

Make no mistake, this is a superior film.

The last great film noir was A Touch of Evil, made 51 years ago. But the genre has never lost its allure and every now and then a filmmaker attempts a neo-noir, some succeeding famously (Chinatown, Body Heat) but most lacking the soul of the classic noirs from the 40's and 50's.

In The Missing Person, director Noah Buschel tries valiantly to recreate the original genre. First, the classic protagonist: Hot star Michael Shannon (Reservation Road) plays John Rosow, a chain-smoking, gin-soaked private detective living in a run-down apartment next to the Chicago L. Then the familiar set-up. A stranger calls and offers way too much money to do what sounds like a simple job. And finally, the twisted tale: Rosow, a former street-smart New York cop, smells something rotten, but is spurred by the money and the conviction that he will be able to outplay the other players.

Shannon makes an intriguing protagonist, grizzled and degenerate but with just enough heart and humanity to make him sympathetic. Unfortunately, the weight of the movie falls entirely on his shoulders. The plot winds its way, with a steady stream of surprises and revelations, but none of them particularly compelling. The secondary characters, especially the perfunctory love-interest, are underdeveloped. And so, despite Shannon's heroic efforts, the film stumbles, and ultimately is tripped up by incredulity and apathy.

Despite these criticisms, film noir lovers will still find enough to enjoy to make the movie worth watching. Just don't expect Orson Welles.

Can't tell you how hard I tried to like "The Missing Person". Right off the bat, you can see it is an imitation noir, an attempt to recall a bygone era in movies, and they got a down-at-the-heels, alcoholic 'private eye' to be the hero - and being a likable sort, you root for him. The color is not splashy but almost a sepia, two-tone effect that works well with the mood of the picture.

However.

As noted by several reviewers, it takes forever to get going but then maintains the same slow, plodding pace throughout the film. And the hero, played by Michael Shannon, severely underplays his part and seems to be in a stupor in some scenes, so sluggish does he appear. That may be what the director was looking for, but he is at times in danger of fading into the wallpaper and losing command of what are essentially his scenes. Lastly, too much plot explanation was saved for the final scenes and became almost too much to absorb; It makes you wonder if you got the gist of the story.

I hope this was a learning experience for director Buschel and I applaud his effort and concept. I hope he makes more and better pictures. And I hope he is not offended by the fact that a highlight of the movie for me was Thelonious Monk's version of an old standard, "I Don't Stand A Ghost Of A Chance", played over the final credits. It was perfection, a haunting rendition played slowly and using very few fingers.