The rise and fall of Al Capone and the man who took him down, Elliott Ness, is a classic American tale. Its been told many times, both on screen and in television, but perhaps it has never been told as well and with such panache as this 1987 effort from Brian De Palma. Today's film is The Untouchables.
It is amazing how often great things come together almost by accident. A script developed by the famed Chicago playwright David Mamet that is unusually efficient in its use of dialogue, became attached to Brian De Palma, in need of a hit having not directed a successful film since 1983's Scarface. Robert De Niro took on the role of Al Capone only after Bob Hoskins had dropped out at the last minute. Add this to the talents of Sean Connery in a career best performance and Kevin Costner with a score by the legendary Ennio Morricone and the rest is history.
Set during the time of Prohibition, the film opens with the arrival or Elliott Ness, played with schoolboy charm and naivety by Kevin Costner, in Chicago at the behest of the Dept of Treasury to bring an end to the illegal liquor business and the violence that sustains it. He soon finds that everything flows through Alfonse Capone, a menacing performance from De Niro and that with corruption rife he has no hope of achieving his goal alone. A chance encounter with an ageing beat cop, Jim Malone, leads to the formation of a new unit, an incorruptible group with the sole goal of sending Capone to jail. Connery was justly lauded for his performance as Malone, winning Best Supporting Actor in that year's Oscars. His character is the emotional centre of the film and he acts as mentor to the initially naive Elliott Ness, guiding him through the often brutal encounters with the gangs that control the liquor market. As almost everyone now knows, Capone was finally taken down by a failure to pay his income tax.
The actors are aided in their endeavours by a fine script from Mamet, containing some great lines of back and forth dialogue and a number of tour de force set-piece scenes for which the film is still fondly remembered today. The dialogue is typically Mamet.
Malone: Why do you want to be a police officer?
Williamson: To protect the... people and the... p...
Malone: I'm not looking for the textbook answer. Why do you want to join the force.
Williamson: The force?
Malone: Yeah, why do you want to join the force.
Williamson: Because... I...
Malone: Yeah?
Williamson: ...think I could help.
Malone: You think you could help.
Williamson: ...with the force.
Malone: Thank you very much, you've been most helpful.
[Williamson leaves]
Malone: [to Ness] There goes the next chief of police
Perhaps the most famous scene is the shoot-out on the steps of Union Station. In a tribute to Sergei Eisenstein's The Battleship Potemkin in which a baby in a crib fall's down the Odessa Steps during a massacre, as Ness is on the lookout for Capone's bookkeeper who is due to depart on the last train of the day. Of course the bookkeeper and his protectors arrive just as Ness is helping a woman lift her carriage up the steps. An elegantly filmed shoot-out ensues which is both balletic and bloody.
In summary, this is a true classic with a great cast, an excellent script and a great score from Morricone. Ultimately, it's just a great yarn that holds your attention from beginning to end. It is interesting that this film really was a career high for so many of those involved. De Palma hasn't made a great film since, with a number of turkey's along the way (Mission to Mars??). De Niro's career has trailed off as he increasingly takes on roles surely only for their financial reward, while both Sean Connery and Kevin Costner have had their ups and downs in the intervening years.
No comments:
Post a Comment