THE FUNERAL
A film review by James Berardinelli
Copyright 1996 James Berardinelli
RATING (0 TO 10): 7.0 Alternative Scale: *** out of ****
United States, 1996 U.S. Release Date: beginning 11/1/96 (limited) Running Length: 1:38 MPAA Classification: R (Violence, profanity, nudity, sex) Theatrical Aspect Ratio: 1.85:1
Cast: Christopher Walken, Chris Penn, Vincent Gallo, Benecio Del Toro,
Anabella Sciorra, Isabella Rossellini, Gretchen Mol,
John Ventimiglia, Paul Hipp
Director: Abel Ferrara
Producer: Mary Kane
Screenplay: Nicholas St. John
Cinematography: Ken Kelsch
Music: Joe Delia
U.S. Distributor: October Films
Gangster stories have been a source of inspiration for film makers as diverse as Barry Levinson and Quentin Tarantino, so it's no surprise that Abel Ferrara, the "low budget Martin Scorsese" has thrown himself into the genre with his latest effort, THE FUNERAL. Those who think they detect distant echoes of MEAN STREETS and THE GODFATHER are not deluded; THE FUNERAL owes a debt to those, and other, features, but, by using his inimitably dark style, Ferrara manages to make this material his own.
That's not to say that THE FUNERAL is on the same level as either of the aforementioned films, or even that it's an unqualified success. In fact, there are plenty of things wrong with this movie, but it does hold together better than any of the director's previous films, including the uncompromising, bloody, and controversial BAD LIEUTENANT. THE FUNERAL likely won't appeal to mainstream audiences -- it's clearly an "art film" -- but it is arguably Ferrara's most accessible movie to date, and is certainly better-grounded than his bizarre, black-and-white vampire tale, THE ADDICTION.
It's the late 1930s in New York City, and two men, Ray Tempio (Christopher Walken) and Chez Tempio (Chris Penn), are burying their younger brother, Johnny (Vincent Gallo). Johnny's demise came as the result of three bullets to the chest, but he didn't name his assailant before slipping into a coma. That doesn't stop Ray, a petty gangster, from thirsting for revenge. Despite the pleas of his wife, Jeanette (Anabella Sciorra), he's determined to find Johnny's killer and exact retribution, and he has a pretty good idea who he's looking for. Meanwhile, Chez, who has always been prone to bouts of uncontrollable violence, teeters on the edge of sanity, and even his wife, Clara (Isabella Rossellini), has trouble calming him.
THE FUNERAL takes place during two time periods: the day of the funeral and the recent past, when Johnny is still alive. The story unfolds in a fragmentary fashion, and the lack of effective transitions can leave the viewer disoriented. (Is this scene a flashback or not?) Certain plot details are left half-explained, which can lead to frustration if you try to piece everything together. Apparently, rather than telling the complete story, Ferrara is content with providing select glimpses of the events that lead to Johnny's death.
On some levels, the ending is a stroke of brilliance; on others, it's disappointing. I appreciate the black, bitter irony that Ferrara is bringing to the fore here, but the critical action seems poorly motivated. Foreshadowing doesn't absolve a film maker of the need to build naturally to a crisis, but in THE FUNERAL, certain aspects of the climax feel forced. It's as if Ferrara and screenwriter Nicholas St. John devised a great ending that isn't well-supported by the script, then manipulated characters and circumstances to attain the desired results. The concluding scene is a powerful way to punctuate the film, but it seems more contrived than plausible.
Ferrara has gotten a top-rate cast to work for him at cut rate prices, and the consistently high level of acting keeps THE FUNERAL from descending to the level of B movies. Christopher Walken, who is always at his best playing gangster types, gives an intense, but surprisingly subdued, interpretation of Ray. Vincent Gallo (PALOOKAVILLE), despite spending half the film lying on his back in a coffin, is solid as Johnny, who would rather be involved in organized labor than organized crime. The standout performance, however, belongs to Chris Penn, whose manic, no-holds-barred portrayal of Chez is reminiscent of the work Harvey Keitel did in BAD LIEUTENANT.
As is usual for a Ferrara film, everything is gloomy and dark. Most of the scenes take place either at night or in windowless rooms, and moments of comic relief are as infrequent as brightly-lit sequences. In fact, it's the pervasive, and sometimes oppressive, grimness of his movies that has earned Ferrara comparisons to Scorsese. Stylistic issues aside, however, Ferrara is still far behind when it comes to plot and character. THE FUNERAL effectively highlights the forces tearing at the fabric of a deeply dysfunctional family, but it lacks the complexity that separates movies from masterpieces. As a result, THE FUNERAL is a solid accomplishment, but not a standout achievement.
- James Berardinelli e-mail: berardin@bc.cybernex.net ReelViews web site: http://www.cybernex.net/~berardin
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