MAD CITY (PG-13)
Directed by Costa-Gavras Running Time: 114 minutes Originally Released: November 7, 1997
Reviewed by E. Benjamin Kelsey
* * * (out of four)
Losing a job is not an all too uncommon thing. Reacting to such a personal setback by taking a group of small children hostage is a bit more rare. While we all might feel the desire to blow someone's head off with a shotgun when they don't seem to grasp our point of view, actually threatening them with one is usually something we avoid. This isn't the case with Sam Baily - John Travolta's slightly askew average-joe persona in MAD CITY.
"I don't think people listen to guys like me," Sam laments during an exclusive interview from behind the walls of a museum. Just a few days ago, Sam was a guard at this same museum, but when cutbacks led to the elimination of his security position, Sam's apprehension resulted in a brash decision. In an effort to get his ex-boss, museum director Mrs. Banks (Blythe Danner), to "just listen", he barges into the museum one day equipped with a fully loaded shotgun, taking the uncooperative Banks and a group of school children hostage.
Sam's overall concern is valid enough - if he loses his job, his paycheck, his benefits, etc., his wife and two children won't be provided for. He's not a lunatic or a hot-tempered madman, he's somewhat like a child - panicky, compulsive, and running on emotion - and his naive intentions aren't helped any by the fact that Banks wasn't overly compassionate with the let go. Overall, he's just like you and me - except that he has the capacity to view the line we'd deem "far enough" as the starting mark of some crazy race.
Meanwhile, television reporter Max Brackett (Dustin Hoffman) is also on the scene. Covering a "fluff" story for the evening news concerning the museum cutbacks, Max suddenly finds himself in the middle of the biggest-breaking news story he ever could've hoped for. Having been demoted from network newsman to smalltime affiliate reporting, Max is anxious to turn this into his, and only his, story.
Max immediately bonds with Sam. Max even coaches Sam thru hostage negotiations and writes scripts for him to use with the police over the phone. At first, Max's intentions don't stretch beyond high ratings and a good boost to the ole pride factor, but as he gets to know Sam more personally, he begins to sympathize and even become somewhat of an advocate for him. The media, however, is creating a frenzy that leaves the fickle public shifting gears as often as a diesel truck moving downhill. The accidental shooting of ex-co- worker Cliff (Bill Nunn), a black security guard, becomes one of the main factors in the controversy over Sam's honest ambitions.
Also involved in this film are Robert Prosky as Lou Potts, head of the news department of the station Max falls directly under, and Alan Alda as the nationally famed reporter Kevin Hollander, who uses his network power to try and outshine Max. Alda and Prosky both turn in fine performances that fit like gloves on their acting abilities. Then there is Mia Kirshner, who plays the young TV station intern Laurie. She falls under Max's wings only to become a student taught too well in the way of sensationalistic reporting. Kirshner's credits are relatively small for now, including roles in films like EXOTICA and the forgettable sequel to THE CROW. Still, Kirshner's character transformation shows that she has shining ability to play both good girl and kinda-bitchy-in-a-reserved-way roles. I wouldn't mind seeing her in some more prevalent parts, where perhaps her talent will be able to blossom more fully onscreen.
While the viewpoint of the media as a greedy, self-righteous monster has indeed been tackled before, MAD CITY provides a solid two hours of enjoyability. Hoffman and Travolta are both excellent actors, and seeing them together is a real treat. They both do a great job at smoothly and naturally becoming their characters, and they provide enough chemistry for us to genuinely care for both. There is quite a bit of humor in this film, and without it, it could've fallen into a drab, cliched social statement more likely to garner sleep from the audience than applause. This isn't a flick that will grip at both your funny bone and your heart, but it will lightly touch both, making for a recommendable movie. If for nothing more than the opportunity to watch both Hoffman and Travolta at the same time, I urge you to check this one out.
December 19, 1997
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