CAFE SOCIETY
A Film Review by James Berardinelli
RATING (0 TO 10): 7.0 Alternative Scale: *** out of ****
United States, 1997
U.S. Release Date: variable (9/97) (limited)
Running Length: 1:46
MPAA Classification: No MPAA Rating (Sex, nudity, profanity,
mature themes)
Theatrical Aspect Ratio: 1.85:1
Cast: Frank Whaley, Peter Gallagher, Lara Flynn Boyle, John Spencer, Anna Thompson Director: Raymond De Felitta Producers: Steve Alexander, Elan Sasson Screenplay: Raymond De Felitta Cinematography: Michael Mayers Music: Charles Guardino U.S. Distributor: Raymond De Felitta
CAFE SOCIETY is the cinematic cousin to Curtis Hanson's brilliant L.A. CONFIDENTIAL. While this film lacks the scope and ambition of Hanson's Hollywood-in-the-'50s expose, there are still plenty of similarities. CAFE SOCIETY transpires in a big city (New York instead of Los Angeles) during the same era, focuses on the lurid sex-for-sale trade, and, most strikingly, delves into the incestuous relationship between the police and the tabloid reporters. It's also interesting to note that both L.A. CONFIDENTIAL and CAFE SOCIETY have their roots in real stories that transpired more than four decades ago.
Mickey Jelke (Frank Whaley) is a playboy. Going out on the town, drinking, and picking up girls are his life – they're about the only things he's good at. And, as another character puts it, he's addicted to the lifestyle (it's called "night club-itis"). One night, Mickey is beguiled by a beautiful woman (Lara Flynn Boyle) who shows up at one of his favorite spots. She spins him a yarn about being Pat Ward "of Newport, by way of Philly." Mickey, who has been unlucky in love, is all too willing to believe Pat, even though common sense tells him that she's hiding something. And she's not the only one who's playing him false. His newfound friend, Jack Kale (Peter Gallagher), is an undercover cop whose assignment is to bring to light evidence that Mickey heads a prostitution ring.
One of the most interesting aspects of CAFE SOCIETY is the way it examines the relationship between the police and the press. Mickey becomes the cops' target because he's a rich guy with a high profile (his grandfather invented oleo margarine). Other, more deserving pimps are passed over because the reporters aren't interested in them. The police want headlines, and the papers are willing to comply if they deliver Mickey. And, given a chance, the tabloids are capable of turning an unsavory party girl like Pat Ward into an overnight sensation.
In the wake of the Princess Diana incident, CAFE SOCIETY's examination of the feeding frenzy of the tabloids takes on added meaning by reinforcing the longevity of the public's fascination with the rich and famous. One of the subplots in L.A. CONFIDENTIAL touches on similar material, with Danny DeVito's character always on hand to take a picture of a celebrity being arrested for some nefarious deed. As I said earlier, CAFE SOCIETY and L.A. CONFIDENTIAL have a lot in common.
For approximately two-thirds of its 106 minute running length, CAFE SOCIETY is on solid ground. Only towards the end does it begin to fray around the edges with a spate of moralizing that is layered on a bit too thickly. But, although the movie's weak conclusion includes a painfully predictable, melodramatic courtroom scene, the unevenness of the final half hour does little to lessen the impact of what preceded it.
The acting is top-notch, and features career-best performances from both Frank Whaley and Lara Flynn Boyle. These two pour themselves into their roles. Whaley comes across as confused, pitiful, and desperately searching for something. Flynn Boyle is a sultry, sexy, yet somehow human, femme fatale. Peter Gallagher does what he does best -- underplays his part. And John Spencer has a delightful supporting role as a cynical pimp who poses as a legitimate "talent agent." (Some might argue that there's little difference.)
CAFE SOCIETY oozes style with as much conviction as an L.A. CONFIDENTIAL or a MULHOLLAND FALLS, but at a significantly lower budget. In fact, one of the most impressive aspects of this film is how writer/director Raymond De Felitta managed to create such a rich, believable atmosphere without breaking the bank. (One of the obvious ways is that he avoided expensive outdoor shots, relying on stock footage of '50s New York instead.) This is a great looking motion picture, and, while visual appeal can't save a bad movie, it can (and does) help a good one like this.
Copyright 1997 James Berardinelli
- James Berardinelli e-mail: berardin@mail.cybernex.net
The website has moved!! The new address is: http://movie-reviews.colossus.net/
"The cinema is not an art which films life: the cinema is something between art and life. Unlike painting and literature, the cinema both gives to life and takes from it..."
- Jean-Luc Godard
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews