THE CLIENT
A film review by Scott Renshaw
Copyright 1994 Scott Renshaw
Starring: Susan Sarandon, Brad Renfro, Tommy Lee Jones, Anthony LaPaglia, Mary-Louise Parker. Screenplay: Akiva Goldsman and Robert Getchell. Director: Joel Schumacher.
The film adaptation of John Grisham's THE CLIENT is in a unique position. Commercially, there are probably great expectations; THE FIRM and THE PELICAN BRIEF combined to gross over $200 million at the box office last year. Artistically, on the other hand, the expectations are probably much lower, again based on the previous Grisham adaptations. Grisham on the screen is like Grisham on the page: glossy, undemanding, straight-ahead potboilers, perfect for mass consumption. But surprisingly, THE CLIENT is slightly more than that. Even if the whole does not quite equal the sum of its more impressive parts, THE CLIENT edges out THE FIRM as the best of the three Grisham films.
THE CLIENT is the story of eleven-year-old Mark Sway (Brad Renfro), a poor Tennessee youth who is in the wrong place at the wrong time one day. While out in the woods with his younger brother, Mark stumbles upon a suicidal Mafia lawyer, who spills some dark secrets to Mark before he kills himself. The incident leaves the younger brother traumatized into a catatonic state, and leaves Mark as the only witness. This makes him valuable to publicity-hungry New Orleans district attorney Roy Foltrigg (Tommy Lee Jones), and dangerous to Barry "The Blade" Moldano (Anthony LaPaglia), who stands to lose the most from Mark's knowledge. Convinced he needs help, Mark turns to Reggie Love (Susan Sarandon), a lawyer looking for a second chance, and who becomes Mark's only hope.
THE CLIENT, like THE FIRM, benefits most from a wealth of solid performances. Susan Sarandon carries herself with the tension of someone who knows she has made a lot of mistakes and can't afford to make any more; Tommy Lee Jones does an oilier take on his Sam Gerard from THE FUGITIVE, with a dash more Southern bluster. The scenes in which Sarandon and Jones tangle are masterful, sparks of raw intelligence flying between the two gifted performers, making it regrettable that there aren't more. Newcomer Brad Renfro actually has far more screen time than either of his big-name co-stars, and he is occasionally very good, particularly when showing a bit of an edge. He's less successful when asked to deliver emotion-filled speeches, like his description of the custody battle between his parents. The best performance, however, might be that of Mary- Louise Parker as Mark's mother. In many ways it is a better written part than any of the three leads, rich and complex, and Parker is wonderful in a scene-stealing supporting role similar to Holly Hunter and David Strathairn in THE FIRM.
There is so much good acting going on in THE CLIENT (aside from Anthony LaPaglia, whose cartoonish Mafioso does everything but grab his crotch) that it's easy to overlook what a hum-drum thriller it is. This isn't true of the first half hour, where director Joel Schumacher keeps the tension notched up high. The encounter between Mark and the babbling attorney, intercut with the reactions of the ever more frightened brother, is extremely effective, and the low-angle perspective on Mark's confrontation with an obnoxious police officer creates a heightened paranoia. Then, as Grisham plots tend to do, THE CLIENT's sputters out like a released balloon. The climactic showdown is abrupt, silly and very unsatisfying, an appropriate wrap-up to a sluggish second hour. It almost seems as though Schumacher realized that the suspense elements were the least interesting, and did only what was necessary for resolution.
In fact, THE CLIENT is much more effective as a character study than it is as a thriller. The relationship between Mark and Reggie is intriguing, as Mark realizes he needs to trust someone and Reggie tries to exorcise the demons of an alcoholism which drove away her children. But that relationship is a bit rushed, and while both THE FIRM and THE PELICAN BRIEF overstayed their welcome, THE CLIENT might have benefited from an additional ten or fifteen minutes of character development. It might have made the maudlin closing scene between Reggie and Mark more tolerable. Still, THE CLIENT's first- rate cast carries it through its many lulls. Provided you aren't heading to see THE CLIENT expecting a pulse-pounding thriller, its possible you could be in for a pleasant surprise.
On the Renshaw scale of 0 to 10 Mafia lawyers: 6.
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