THE KEEPER
A film review by James Berardinelli
Copyright 1996 James Berardinelli
RATING (0 TO 10): 8.0 Alternative Scale: ***1/2 out of ****
United States, 1996 Running Length: 1:30 MPAA Classification: No MPAA Rating (Violence, profanity) Theatrical Aspect Ratio: 1.85:1 Shown at the Philadelphia Festival of World Cinema, 5/4/96, 5/5/96
Cast: Giancarlo Esposito, Regina Taylor, Isaach De Bankole Director: Joe Brewster Producers: Jordi Torrent, Joe Brewster Screenplay: Joe Brewster Cinematography: Igor Sunara Music: John Petersen
Joe Brewster's THE KEEPER is a compelling look at what can happen when a man loses his faith in humanity. This multi-layered psychological drama uses fine performances by Giancarlo Esposito (DO THE RIGHT THING), Regina Taylor (A FAMILY THING), and French actor Isaach De Bankole (NIGHT ON EARTH), as well as an intelligent script by writer/director Brewster, to tell a suspenseful tale. Displaying a quality that's rare for American films these days, THE KEEPER keeps the audience involved without telegraphing everything that's coming next.
THE KEEPER introduces us to Paul Lamont (Esposito), a New York City cop with aspirations of becoming a lawyer. Paul takes his job seriously and has a tendency to bring his problems home with him. One friend advises him to take a day off and go fishing to get away from things. In addition to his dedication to work, Paul is also a stout believer in justice, and when he sees a man, Jean Baptiste (De Bankole), thrown into jail for a rape he probably didn't commit, Paul advances the Haitian- born immigrant the $1500 bail money. Later, when Jean comes to Paul for a place to stay, the cop reluctantly offers him a place on the couch. Paul's wife, Angela (Taylor), is initially horrified at the thought of a possible rapist sleeping in her home, but, with the passage of time, she and Jean form a special bond. As they grow closer, however, Paul begins to feel alienated, and his growing disillusionment with the system, coupled with questions about his wife's fidelity, fuel a churning, unpredictable anger.
Brewster is a psychiatrist, so it's no surprise that the psychological elements of THE KEEPER are the most engrossing. As the story progresses, not only does Paul question his own system of beliefs, but he becomes conflicted about his identity. Paul's father was Haitian, and he has long denied that part of his heritage, shrinking away from the customs of the Caribbean and trying to fit in as a generic New Yorker. On the other hand, Jean still embraces Haitian traditions, and his flaunting of those customs drives Paul to a crisis point. Is he jealous of Jean or Jean's clear sense of identity? Brewster asks, but never answers, this question -- it's up to interpretation.
THE KEEPER isn't just powerful drama, it's an effective thriller. A subplot about how cops abuse their power dovetails nicely with the resolution of the main story, and the film's closing images are some of its most memorable. Brewster doesn't follow conventional formulas, and, although there are surprises, all are perfectly logical considering the nature of the people involved. Taken as a whole, THE KEEPER represents disturbing portrait of a modern America where homogeneity and conformity threaten not only our cultural identities, but our individuality.
- James Berardinelli e-mail: berardin@bc.cybernex.net web: http://www.cybernex.net/~berardin
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