TWO BITS
A film review by James Berardinelli
Copyright 1995 James Berardinelli
RATING (0 TO 10): 7.6
United States, 1995 U.S. Availability: 12/95 (limited) Running Length: 1:25 MPAA Classification: PG-13 (Mature themes) Theatrical Aspect Ratio: 2.35:1
Cast: Gerry Barrone, Mary Elizabeth Mastrantonio, Al Pacino, Andy Romano Director: James Foley Producer: Arthur Cohn Screenplay: Joseph Stefano Cinematography: Juan Ruiz-Anchia Music: Carter Burwell U.S. Distributor: Miramax Films
When you think of Al Pacino, the image that comes to mind is one of energy, intensity, and violence. Whether a cop (SEA OF LOVE, SERPICO, HEAT) or a crook (THE GODFATHERs, SCARFACE), Pacino's characters are almost always hard-hitting, hyperactive portraits of caged fury. So it's more than a minor departure for the actor to appear in James Foley's TWO BITS as Gitano Sabatoni, a dying, regretful old man. This is a small, understated role--character actor material--yet Pacino immerses himself so fully in the part that we forget about the performer the moment we see the performance.
Despite Pacino's presence in the cast, this isn't his movie. Nor does it belong to Mary Elizabeth Mastrantonio, who has a supporting role as Gitano's timid daughter. Instead, the focus is on newcomer Gerry Barrone, who plays 12-year old Gennaro, the fictionalized childhood counterpart of screenwriter Joseph Stefano. This film, which Stefano first committed to paper in 1970, is autobiographical, recounting one crucial day in his life as a boy in South Philadelphia during the heat of a Depression era summer.
That day is August 26, 1933, when Gennaro first starts noticing life for what it is. It's a day of eye-opening experiences and tough lessons; of awareness, magic, and sadness. As Alec Baldwin states in his voiceover narration, it's the day La Paloma--the newest movie theater in the neighborhood--opens. Until 6 pm, there's a special rate at the cinema: get in for only 25 cents. So Gennaro spends his time roaming the streets, looking for odd jobs that will pay enough for him to afford a matinee. This quest for two bits takes place against the backdrop of an America where the only thing more scarce than money is employment.
The story is simple, and the film's message is equally as plain: never give up wanting and striving, no matter how unattainable the dream seems. For Gennaro in TWO BITS, that goal is watching a movie in the air-conditioned confines of La Paloma. As the film progresses, this simple theater takes on a monumental symbolic importance. Although TWO BITS isn't explicitly about the love of movies, a sense of affection and admiration for the black-and-white classics of the time permeates the production, beginning with the clips shown during the opening credits. The film is suffused with nostalgia--at times it's almost excessive--and the period set design is effective. It's apparent from the tone that this is a filmed memoir, not a fictional account.
The greatest failing of TWO BITS is a tendency to ramble. Individual episodes work well on their own, but some of the connecting material is weak, and the voiceover is often more irritating than helpful. The film is also too self-conscious about getting across its theme. Subtlety would have worked fine, but, to make sure we don't miss it, Al Pacino's character states the message explicitly.
TWO BITS represents an undemanding form of entertainment--a period piece that lives on nostalgia and an elemental story. Perhaps the most successful aspect of this film is that it encourages us to connect events in Gennaro's life with moments in our own, thereby enriching the emotional impact. Credit director Foley (GLENGARRY GLEN ROSS) for another fine, character-based piece.
- James Berardinelli (jberardinell@delphi.com)
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