Film Review
Howard holds films subtlety for 'Ransom'
By Constantine NasrStaff Writer
It's been over a
year since "Braveheart" and audiences still can't get enough of Mel Gibson.
After a year of hype and mass marketing campaigns, Gibson's latest film,
"Ransom," finally arrives at theaters this weekend, much to audiences' glee
and delight. With a lot of expectations riding on this film, which many
hope to be one of the saving graces of 1996, Hollywood is betting its
bottom dollar that Gibson and all involved will help deliver the goods.
More importantly, the film-goers are demanding that this film be all they
have hoped for."Ransom" is the latest film
by director Ron Howard, who has brought together a terrific cast with the
hopes of continuing his winning streak (like Gibson's), which reached new
heights with last year's Oscar-nominated "Apollo 13." Gibson stars with
Rene Russo, Gary Sinise, Delroy Lindo and Lili Taylor in what could be
considered Howard's most mature film to date.Tom Mullen (Gibson) is a
highly successful airline entrepreneur whose life seems to have hit an
all-time high. He has a beautiful wife, Kate (Russo), and a smart young son
(Brawley Nolte), and business couldn't be better. But things go sour when
someone kidnaps his son and demands a pricey ransom, leaving Mullen with
limited time to take action. He enlists the help of the FBI, headed by
expert agent Lonnie Hawkins (Lindo), and the film delves into the trials
and terrors the Mullens endure to get their lost son back."Ransom," first off, is a
trying escapade. It is a tense and unnerving suspense thriller that uses
many conventions of the genre and also attempts to create its own nuances.
It goes a step further than other similar films because it gives us a dual
story line that explores both the Mullens' predicament and that of the
kidnappers. This is where Howard has made his best and most satisfying
achievements. By humanizing the villains and placing a cloud of mystery
over the head of Mullen, the so-called hero, Howard paints a hazy portrait
in which ambiguity balances our sympathy and anger between the two opposing
forces.Because of this, along with
the strong nature of the film, "Ransom" can be considered Howard's most
untypical film to date. The director steps away from the wholesome
traditions that made most of his earlier films ("Parenthood," "Splash" and
even "Apollo 13") so accessible to most audiences. "Ransom," on the other
hand, is a grittier exploration of the souls of more complex people and
their nasty surroundings; a lot of this has to do with the vivid, powerful
script by Richard Price.Price, author and
screenwriter of noteworthy films like "Clockers" and "The Color of Money,"
added a complete sense of urban grittiness, which is one of his famed
trademarks. Taking the original script (written by Richard Maibaum and
Cyril Hume), he and co-writer Alexander Ignon divide the story and allow
for the audience to endure the dramas and plights of both parties. While
this may disturb the mainstream audiences who enjoy the distinct lines of
black and white characteristics, it makes for a much more thorough, much
more engrossing tale.The roles are superbly
cast, although some viewers' expectations of the actors could go
unfulfilled. Gibson is remarkably sympathetic and believable as the
spiritually lost Tom Mullen, but because he is Gibson the star rather than
Gibson the actor, we're expecting him to burst out into an action scene
(ready to use gun, sword or fist). This is a film that explores characters
rather than action, and that's where it succeeds.Russo is charming (as
always), although her presence could have been delved into a bit more.
Sinise as a cop who is involved with the case shines more or less
distinctly out of character. Lindo, who really holds the film together with
a powerful key role, makes the film endurable throughout the tension with
his often comedic side remarks. Brawley Nolte, son of the great Nick, makes
a fair impression, although he's seen tied up for most of the two
hours.The debatable points of the
film rest on Howard's shoulders. The film is engaging, but the real problem
is that Howard does not know how to be subtle. Like in most of his previous
work, Howard goes out of his way to prove a point, and that is the mark of
a filmmaker still on the way to becoming great. Like Barry Levinson, whose
recent "Sleepers" is also filled with some in-your-face commentary, Howard
can't just say what he means without going overboard.For example, the score that
coincides with the kidnappers' sequences is music by the Smashing Pumpkins'
Billy Corgan. Howard's overt placement of this kind of "punk boom box
music" within every scene that shows these presumably "bad" kidnappers is
almost laughable with its in-your-face association between bad people and
rock music. This is one problematic element of a film that shows Howard's
sincere attempt to cross into new territory as a director.The atmosphere couldn't
have been better. The style of the film, which uses fast editing, a great
deal of hand-held camerawork and multiple cross-cuts, makes the parallel
worlds work. Howard and Price capture New York in the old, grimy haze that
we all expect. (Pay attention to the cinematography by Piotr Sobocinski,
which is refreshing and free when compared to Howard's cramped last
effort.) The music by James Horner unfortunately sounds way to close to his
score to "Clear and Present Danger" to be praised here.The violence element is a
surprising change of pace for Howard. While some of his earlier work, like
"Backdraft," deals with hard-handed topics, "Ransom" in the same manner
does not pull any punches. The finale, in which the film takes a sharp
plunge down into the depths Howard usually doesn't touch on, is both
satisfying and over-the-top. It is believable, though; the film couldn't
end any other way. But you'll have to see that for yourself.For those who have not seen
the film's trailer or don't know anything about its real twist, "Ransom"
will be much more gratifying. Unfortunately, in this case, the film was
mismarketed, revealing way too much in its advertising spots. Had one not
been in on Mullen's plan, the narrative would have been even better and
much more exciting.Those who call "Ransom" one
of the year's best are slightly off the mark. The film is definitely
entertainment worth the money, and it is a film not recommended for the
light-hearted. It's excellent fare and fun if you enjoy the genre. One will
definitely be held within the story's firm and driven attitude, but don't
expect a clear-cut tale, because you won't find one. As you watch it in the
darkened cinema, you get the impression that it is not your average
Hollywood suspense thriller. But then again, after you leave the theater,
you can see that it has Hollywood written all over it. B+"Ransom" opens Friday nationwide.