Before the Devil Knows Your Dead

I realize, of course, that Before the Devil Knows Your Dead came out in the United States in early November. However, like many films from 2007, I am just now catching up from my study aboard experience in Spain. And the best of 2007 list that it seems all critics must have will be coming along shortly, after I see There Will Be Blood. As an ardent fan of There Will Be Blood’s director, Paul T Anderson, I can’t wait.

There is much to admire about director Sydney Lumet. His work has spanned decades. And now at 86 years old he has managed to craft one the slickest, most interesting films of 2007. In some ways a shameless melodrama and, in another, a truly poignant comment on the power of greed, addiction and the price we must pay for both. While this film does not compare to the masterworks of Lumet’s oeuvre like Serpico, Dog Day Afternoon or The Hill (my personal favorite Lumet,) it is certainly a million times more compelling than your average crime flick.

The plot is wrought with several twist and turns. To give away too much, would be a crime in and of itself. However, the basic setup is pretty simple. Andy, played by the near prefect Phillip Seymour Hoffman and his brother Hank (Ethan Hawk) come up with scheme to rob a small jewelry store. And the twist, the only one that I am willing to give away, is that the jewelry store is owned by their parents. Andy is a seemingly successful man with a beautiful wife, Gina (Marisa Tomei) and his reason for the needing the money is one the most interesting parts of the film. Hank on the other hand just wants to be able to support his daughter and give her the things that she most desires. It would also be a crime to not mention the amazing and surprisingly powerful performance of Albert Finney as the familial patriarch, Charlie, who ultimately makes the toughest choice of all. Albert Finney and Marisa Tomei steal every scene there in. In fact I have never seen Marisa Tomei better, especially in the scenes of total quiet, when Lumet shows us nothing more than her eyes and guilt they bear.

Much has been said on the film’s structure and the unique way the story is told. We see three perspective of every part of the story, and like any good movie place the pieces together as we go. I really enjoyed the structure, but it reminded me too much of too many other films like it. Lumet’s classic style is very much straight ahead, no holds bar and to see him use slick, modern style is on one level fantastic and proves he can hang with the likes of Christopher Nolan or Quentin Tarrantino, but at the same time it would have been nice to see a film more in the vein of Dog Day Afternoon. Although, to be honest, I am not entirely sure the film would work if the story was told that way.

Lumet has just signed on for a three picture deal and the man will probably be making films until the last breathe he takes. And to that I can only say, “keep em’ coming.”

I have not yet decided the best way to rate films like 3 out of four stars, or even perhaps 8 pieces of chicken out of a 10 piece bucket. Any ideas on this would be much appreciated as would any comments at all. Thank you.