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Starring Paul Newman, Susan Sarandon, Gene Hackman, Stockard Channing, James Garner,
Reese Witherspoon, Giancarlo Esposito, Liev Schreiber, John Spencer, Emmitt T. Walsh. Written
and Directed by Robert Benton.
Harry Ross (Newman) is an ex-cop and retired private investigator. Two years ago, he helped a producer friend Jack (Hackman) track down his daughter (Witherspoon), who had run off to Mexico with her boyfriend (Schreiber). While, bringing her back to California, she got a hold of Harry's gun and accidentally shot him. Ever since, Harry has lived with Jack, and his ex-actress wife Catherine (Sarandon) in the room above the garage, playing cards with Jack and doing odd jobs that he needs done. He's also attracted to the still sexy Catherine, who delights to flirting with him. Jack has an errand for Harry to take care of - taking some money to a mystery woman. Harry doesn't ask why, but he is curious. When he arrives at the mystery woman's house, he gets shot at by a man (Walsh) inexplicably shot in the gut, who then dies in front of him. Harry's ex-partner Verna (Channing), takes him in for questioning, but let's him go even though she know's he knows more than he's saying. Jack sends an old cop friend of Harry's to help Harry out. Raymond (Garner), who works security at the studio for Jack, took Harry in when Harry's ex-wife threw him out of the house. Harry knows he should walk away from this mess, but he can't. Bodies start to pile up, and Harry is caught in the middle of it. But who, and what, is behind it all? With L.A. Confidential, and now Twilight, Hollywood has been rediscovering film noir, with pretty good success. Film noir, like that in The Big Sleep and Double Indemnity, presents flawed and corrupt characters who get caught up in events because of their own weaknesses, and shows how trust in others often leads to betrayal. Twilight is about finding out that secrets you thought were buried long ago have a nasty habit of not staying buried. In a Hollywood rarity, the cast is largely mature, and acting their age (although Sarandon and Newman are still better looking than most still in their youthful prime). The cast is uniformly excellent. Newman is great as usual, adopting the beaten-by-life persona with charm and wit. Sarandon is alluring as a woman who is used to getting whatever she wants, but isn't always sure what that is. Channing is equally attractive and credible as someone who once had something going with Harry, and might not mind going again. Especially good is Garner, who as usual, brings energy, charm and wit whenever he's on screen. Director Benton, who directed Newman in the excellent Nobody's Fool, adopts the same relaxed, unhurried style that worked so well in that film. This style allows the actors time to act, and scenes to be filled with atmosphere and dialogue. Unfortunately, the style does not work as well here - the film drags in spots. Also, there are a few cliches and plot contrivances that detract from the overall realism of the story. For example, when Harry is caught with two dead bodies, instead of taking him in for questioning, Verna lets him go for "24 hours", so he can find who really did the killing. And a few red herrings are thrown in to keep us guessing. But it is enjoyable watching these exceptional veteran actors perform.   |