CITY HALL
A film review by Mark R. Leeper
Copyright 1996 Mark R. Leeper
Capsule: As a mayor's assistant investigates a
crime with political implications, we get an inside
look at the workings of a political machine in New
York City. The mystery itself may be the weakest
link in the film, with the setting and style being
the real show. CITY HALL has an adult, intelligent
script that is both current and harkens back to
1950s expose' films. Rating: low +2 (-4 to +4)
CITY HALL brings to mind hard-edged 1950s urban expose's like ON THE WATERFRONT and THE EDGE OF THE CITY. And Jerry Goldsmith has underscored the similarities by giving the film a big, brash, jazzy score in the style of Leonard Bernstein. That score may be the best thing about the CITY HALL and sets the tone for everything that is to come. At heart CITY HALL is a mystery, but the mystery is not what makes the film work. It is the glue that holds the film together, but this is really a picture of modern politics in New York City or any multi-ethnic metropolis. Certainly the mystery keeps the story moving forward--sometimes not as fast as would be wished, but it does keep it moving. But the active ingredient is the setting of the story, giving us an inside look at a political machine, how it maintains power, how it relates to a multitude of different ethnic groups, and how politics influences the decisions made. And this is a film that is not dumbed down for the audience. The dialogue may at times be a little hard to follow, but it has a ring of realism and keeps the audience on its toes.
New York City Mayor John Pappas (played by Al Pacino) has his hands full with the fallout from a street shoot-out. A policeman and the nephew of a notorious crime lord killed each other and took with them an innocent six-year-old black boy. The Mayor sends his assistant, Kevin Calhoun (John Cusack) to keep a lid on things and also to investigate just what happened and why. Young-looking but perceptive, Calhoun traces the causes of the incident to organized crime, to a local political boss, and to a mysterious judge. The investigation goes deep and, not surprisingly, turns up more than what the mayor's office wants found.
It is not a good sign when there are four names on the screenplay, but it may not be so bad if they are four good writers. In this case included are Nicholas Pileggi of GOODFELLAS and CASINO. We also have among the four dark stylist Paul Schrader. The cast is similarly power-house, but perhaps not such a good investment. An over-rated Al Pacino gets the top billing that John Cusack deserved and plays the same feisty character he always plays, overpowering too many lines. His delivery damages the effect of the film's centerpiece, a sermon from the mayor on the death of a young boy. Cusack still seems a little young for his role, but it may be just that people are getting into politics earlier. Bridget Fonda brings her quirky smile to an under-written role that seems like an afterthought. To no surprise the most memorable and natural acting is from Danny Aiello as a cagey and adept neighborhood councilman who positions himself as everybody's friend.
Harold Becker, director of police films like THE ONION FIELD, THE BLACK MARBLE, and SEA OF LOVE, gives the CITY HALL a nice texture and feel of immediacy. Rate this one a low +2 on the -4 to +4 scale.
Mark R. Leeper
mark.leeper@att.com
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