If the names Lew Harper, Philip Marlowe and Popeye Doyle mean anything to you, then you should watch this film. Here's a chance to see Paul Newman, James Garner and Gene Hackman---the actors who portrayed those classic roles on screen---in the same vehicle.
All three are in the twilight of their careers. Newman is twelve years past "The Color of Money", Garner is only a few years past "Maverick" and "Murphy's Romance", and the prolific Hackman is still cranking them out.
The supporting cast is excellent. It includes Reese Witherspoon in the dawn of her career, just before "Pleasantville" and "Cruel Intentions". And Stockard Channing in a role that feels too brief.
We might call this a neo-noir film. The protagonist, Harry Ross (Newman), is reminiscent of Marlowe, Spade, and Harper. With no prospects, no plans, and no ties, the retired P.l. wanders through a shadowy case with a world-weary reluctance, providing voice-overs like all good private dicks. Susan Sarandon plays the wife of a long-time friend (Hackman), who sets him on the path to discovery and danger.
If we view the night as the time when truths are spoken, the title is apt. Eventually, Ross wends his way through the half-truths and blind spots that make most film noirs so entertaining.
The music is enjoyable and---like other aspect of the film---evocative of the noir sensibility thanks to maestro Elmer Bernstein.
The story may be derivative or lacking fireworks, but this film is the nexus of so much talent that it can be enjoyed for that reason alone.
All three are in the twilight of their careers. Newman is twelve years past "The Color of Money", Garner is only a few years past "Maverick" and "Murphy's Romance", and the prolific Hackman is still cranking them out.
The supporting cast is excellent. It includes Reese Witherspoon in the dawn of her career, just before "Pleasantville" and "Cruel Intentions". And Stockard Channing in a role that feels too brief.
We might call this a neo-noir film. The protagonist, Harry Ross (Newman), is reminiscent of Marlowe, Spade, and Harper. With no prospects, no plans, and no ties, the retired P.l. wanders through a shadowy case with a world-weary reluctance, providing voice-overs like all good private dicks. Susan Sarandon plays the wife of a long-time friend (Hackman), who sets him on the path to discovery and danger.
If we view the night as the time when truths are spoken, the title is apt. Eventually, Ross wends his way through the half-truths and blind spots that make most film noirs so entertaining.
The music is enjoyable and---like other aspect of the film---evocative of the noir sensibility thanks to maestro Elmer Bernstein.
The story may be derivative or lacking fireworks, but this film is the nexus of so much talent that it can be enjoyed for that reason alone.