This is a cop movie, in a time when there were lots of cop movies. However, of all of them, this one could well be the Casablanca of the 80's. Well, that might be a slight exaggeration. It is entertaining, smart, placed in an interesting environment, and features fine and I mean FINE performances by the two leads, Dennis Quaid and Ellen Barkin.

Director Jim McBride has spent the last 10 years lost in the spiritual desert of TV productions, and more is the pity. Because he did an outstanding job with this flick.

***

The story is set in New Orleans, and everything about it feels "right", from the dialect proclivities, to the Cajun music, air of slightly decayed elegance, to the weather, which is always humid. Steamy, a word often used in relationship to this film, is probably MOST aptly applied to the humidity always present in that geographical area.

When it was released, this movie enjoyed a brief period of box office popularity, probably because the "love scenes" were considered risque. Thy were were very suggestive of the real thing, and charged with passion..but not, as people suppose, because any sex was actually consummated in the film. In fact, the "torrid" sex scenes are endearingly funny.

NEW ORLEANS

The first appeal of the The Big Easy is the setting, New Orleans, from which the movie got it's title. New Orleans is like no place on earth, and it is one place you can go in the world which has its own distinct flavor. It comes from a mixing of ancient ethnic groups, and cultures, as well as the people , in various shades of skin color. Even the drawl is distinct, being somewhat faster than the usual stereotype of the South. The music, in this film, is the fun-loving joyous essence of New Orleans. The score by Brad Fiedel really brings this happy fact home.

-But there is a negative side. What underlies the whole mess is that there is a "good Ol' boy' way of doing things, an instinctive distrust of outsiders, and a distincty male oriented power structure, which pervades nearly every aspect of life. Corruption is NOT necessarily a characteristic peculiar to the 'Big Easy', although it is the essence of the plot. The statement "You're not from here are you?" ,however, says it all. (If you are saying this sentence out loud, it reads " Yore not FROM heah are yee-ew?".) Whether that still holds true, I couldn't say. Accept it for the premise of this flick.

Worthy of a brief mention here is some very interesting cinematography, starting with a long shot in the credits leading to the opening scene. If you actually watch it, instead of wandering to the kitchen to grab some chips, (as I did the first 5 times I saw this flick) you can't help but be impressed. The use of natural light, and and some fantastic closeups are also impressive, in this independent film. Shadowed light from windows with blinds form some fascinating effects in some very emotional scenes.

Probably the best thing about this flick are the incredibly real people, created by a screenplay and some brilliant performers. The focus is on two, and this is, above all, a love story. The other characters are surprisingly well defined also although they spend relatively little time on screen.

The only movie I've seen recently that can hold a candle to this one is LA CONFIDENTIAL, which scores points for dialog, development of several characters (instead of focusing on 2) and all the bells and whistles of a full scale Hollywood production. But the BIG EASY is a better movie,to me. Everything about it is tangible, from the beat of the Cajun music to the feel of drizzle soaking you to the skin. Everything a character says should NOT be brilliant, if we want it be authentic. No one really talks like a Hollywood production-at least no one that I know.


THE PLOT

Pan over the calm gulf water, river, Lake Ponchetrain, across the bay, in one long continuous shot, over ocean bound ships, dock lights, city lights, to an aerial shot of a freeform fountain with a body, lying head in the water, angles of limbs in synch with the design of the fountain. The police are there at the murder scene, investigating. The guy is a mob (wise guy) lackey, and the hit appears to be related. Meet Remy McSwain, chief homicide detective and his buddies, detectives McCabe, De Soto, Dodge and the police captain, Jack Kellom.

Our hero is an easygoing guy, with a winning smile, yet smart and savvy about the details of investigating murder. He comes from a family of cops, and appears to get along with everybody. Everybody except the new DA, Ann Osborne, brought in to investigate internal affairs in the police department, waiting in his office.

(Remy)“You’re not from here are ya?

(Anne) “No”

(Remy) “Well here we call them wise guys, not mafia. ”

He pours on the charm, all the time trying to tell her that there’s some “harmless perks” going on but nothing worth investigating. He charms her, dances her around, and their attraction is instant, the chemistry undeniable. When Remy uses his “influence” to crash the waiting line at dinner, the chef claims, “his money ain’t no good”, and he runs red lights without thinking, Anne makes it clear she doesn’t approve. His explanation is

“Folks have a certain way of doing things down here, folks have a way of showing their appreciation. “

It all seems pretty harmless, a cops-eating-donuts kind-of-thing, right?

Within 16 minutes we see some important clues about character. Anne, coming out of the grocery store, chases down a purse-snatcher, and tackles him, landing on the concrete herself. Another hood is coming at her with a knife, but Remy drives around the corner, gets ot and punches the criminals to the ground. The victim thanks Remy (and be sure to notice that she takes no notice whatsoever of Anne’s actions,that recovered her stolen purse) but says "Oh no, I'm not going to make any kind of statement!"

Meanwhile there is a murder to solve. Remy writes an analytical report of the murder investigation that impresses our moral crusader, in spite of herself.

(Remy) “Why don’t you like me Anne? …You think I’m a...dirty cop?”

Ann, whispering) “No”.

They kiss. They move to the bedroom. This now is one of the best love scenes ever on film, because they are awkward, not immediately naked or comfortable with their intimacy. They fumble awkwardly although it is indeed a passionate encounter. It is funny and human, and it never goes anywhere, because Remy is called to another murder scene, this time a rival gang, with three people killed brutally.

(Anne) “I never did have much luck with sex anyway...”

(Remy) “Your luck is about to change, darlin’. “

(There is evidence by the way that ‘luck’ has won the day, but no more suggestive passionate scenes to worry you.)

Well it seems that rival gangsters are killing each other, with their signature tokens left at every scene, with Remy investigating. The corruption angle suddenly becomes obvious and incriminating, as Remy goes to “talk to a guy”, and a sting is set up to show a cop taking bribes. He is caught dead to rights.

(Lamar, the lawyer) “New Orleans is a marvelous environment for coincidence!”

Needless to say this doesn’t do much for the romance, even if Remy does find a way to wiggle out of this mess. And he does, by calling in a favor. And this just complicates things. Another murder, this time the mob boss retarded brother

(Remy) "Oh man! Now they’re killin’ retards!"

McCabe) "Then why ain't YOU dead?"

The central conflict develops around the choices that Remy and Anne have to make from now on, and it just gets deeper and deeper, as the plot twists and turns to a pretty satisfying ending. Is Remy just another dirty cop, a smooth talking lady’s man, romancing the up tight northerner to get off the hook? Or is there something more? Just how corrupt is he? He does have a history of being a lady’s man.


We’ll meet some of Remy’s family, There are more murders coming up, some great action scenes, and a few of those torrid love scenes, about at the same par as the first one. You aren’t about to hear from me what happens after this, but hang on, because it does get more interesting.


The scene that ends the movie in the credits is up to you. Someday, I’ll give you my interpretation. I suspect it is probably different than what you think. Remember I am a bitter cynic.


The Cast

Dennis Quaid as Remy McSwain. In the early years, this was one of the movies that should have made Dennis a super-star. He is magnificent as this character, with his charm, conflict, and range of expression. He is fantastic with Barkin, sings a bit, and creates a character with flaws, conflict and a very human presence. Outstanding on every level. Quaid would later do "Great Balls of Fire" with McBride. Quaid won his one acting award, The Independent Spirit award for male lead, with this performance.

Ellen Barkin as Anne Osborne, District Attorney. Barkin, a decidedly odd looking lady by Hollywood's standards gave such a wonderful performance in this movie, her career should have shot off like a rocket. She probably made the mistake of looking like she was enjoying her love scenes with Quaid, (Not the American way?) and earned herself a reputation. Her performances are always great no matter how bad the movie. In this one, she is disarmingly sweet, awkward and shy, but at the same time brimming with integrity. She runs into things, trips, bangs heads with smooth talking and smooth walking co-star Quaid, and still comes out of it looking good. She was not nominated for any award. I wonder, in my heart if it wasn't some morality moron, (who never realized that there was NO sex being had in this movie) that tagged her career, which had been off to a good start. Anyway you look at it, she was wonderful. My favorite scenes were too numerous to list, but her awkward dancing with Quaid at the bar early in the movie is high on the list.

Ned Beatty as Jack Kellom-Jack is the older cop, friend of our hero's father, the deceased Daddy McSwain. He has one terrific scene with Quaid toward the end of the movie, which redeems his absence of drawl on a few occasions. Beatty has been dubbed the "busiest man in Hollywood" and has been in, so far 123 movies.

John Goodman as Andre DeSoto-This character only has flashes of Goodman's comic genius, and is a little bit likable in spite of all of it. It wouldn't do to create too much sympathy. Goodman is of course known mostly for his role in TV's Roseann. He lives in New Orleans, so he probably doubled as dialog coach.

Lisa Jane Persky as McCabe-Cute, saucy, a little bit flirtatious, (and it's not a character trait, it's a genuine Southern thing), this little actress was very good, funny, and necessary to prevent this movie from being perceived as a gender battle of major proportions.

Ebbe Roe Smith as Ed Dodge-Not my favorite character, and his comic relief was scant, except for his toupe, which could be snatched off his head to provide some squad room humor. But there isn't much endearing about his character, (and there wasn't supposed to be). As an item of note, as an author he won an Edgar Allan Poe Award for his screen play, Falling Down.

Tom O'Brien as Bobby McSwain-as Remy's baby brother, he has a few good expository scenes with big brother, and is very much a part of the story. O'Brien does more in TV than feature films, starting with LA LAW.

Charles Ludlam as Lamar Parmentel-The lawyer-This is the best Truman Capote imitation I believe I have ever viewed. Very smarmy, very oily, and very good. This actor was a stage actor, who founded the "Ridiculous Theater Company" in New York. He died of AIDS the year this film was released.

Grace Zabriskie as Mama. This lady is another veteran, mostly in TV, and she does an absolutely perfect Cajun sounding voice. She has one scene with Barkin that is rolling on the floor funny, (about "running") and one fine scene with Ludlum, the lawyer.

Marc Lawrence as Vinnie 'The Cannon' DiMotti-Stereotypical Mobster, he is a veteran of 167 movies. He apparently is a talented actor with real ability, who had the career cut out from under him by being blacklisted in the McCarthy era of Hollywood. He has been type cast for mob parts since 1941.

Solomon Burke as Daddy Mention-this guy has only one appearance, and yet it wasn't a bad performance. He has also done some composing, and if anyone knows more, I'd be interested. Not much is available on him on the Net.

Final Recommendation

This movie is on it's way to becoming a classic. It terms of performances it outclasses most similar efforts since, and many before its day. If you haven't seen it, you should. And you won't have to fight a mob to do it.


***Just one little personal note, feel free to skip it.
I suppose you noticed I rarely go to theaters and see new releases. There are two reasons. 1) I don't like having my response to a film be part of a herd phenomenon. Have you ever noticed that who you see a movie with will influence your appreciation? Well try this. Take a controversial movie, say VANILLA SKY, see it with two different audiences, separated by years or by date, or economics of the neighborhood. Then let me know how the audiences responded. 2) I have read 300 reviews of HARRY POTTER this last month, 200 of MONSTER, and 200 scattered others. Because I read them all. Do you blame me , now that you think about it?




Recommended:
Yes

Viewing Format: DVD
Video Occasion: Fit for Friday Evening
Suitability For Children: Not suitable for Children of any age