The Grifters is
a brilliant little hidden treasure of neo-noir. It’s a film that doesn’t find
its way onto anyone’s ‘best of…’ lists, but it is worthy. I knew of its
reputation and I’d seen it once before many years ago, but had almost no memory
of it. Now I can’t believe what I was missing. If you’re a lover of film noir, The Grifters is a beautifully rendered
cross between old-style noir and modern renditions of the genre.
That it takes place in Los Angeles is not only par for
the course within the genre, but also integral to the specific thematic
elements of the film. L.A. is a mixed bag of old and new. There’s neo-classical
architecture juxtaposed with garish modernity. It’s a young city within the
context of America, but with a storied history made to seem even older because
of the presence of Hollywood, which is able to recreate any time period it
wants. How many of the great noir pictures have taken place in southern
California? From Double Indemnity to Chinatown and Blade Runner, the genre has plumbed the depths of the city.
The Grifters is
based on a novel by the pulp writer Jim Thompson, several of whose books have
been adapted into film noir, with varying levels of success. Thompson’s novel
was adapted by the crime fiction writer Donald Westlake, who had done some
motion picture writing previously, and ultimately received an Oscar nomination
for the incredible adaptation, owing much of the credit to Thompson’s story and
dialogue, much of which remained unchanged.
The story focuses on three main characters: mother and
son Lilly and Roy Dillon (Anjelica Huston and John Cusack) and Myra Langty
(Annette Bening), Roy’s lover. The rather audacious opening simultaneously
follows all three, at times in three-way split screen, each engaged in separate
cons. Lilly works for a big mob boss from Baltimore. Her job is to go to the
track and make big bets on long shots to bring the odds down, reducing the
liability should they win thus necessitating big payouts. Roy works a
small-time con at a chain restaurant, and Myra attempts to pawn fake diamonds
for the real thing. Bening plays the shill to perfection, expertly flirting
with the bald and lanky jeweler (Stephen Tobolowsky, consigned to a lifetime of
playing similar roles), making him believe that she herself had no idea her
diamonds weren’t the real thing. Frears establishes what could be an iconic
shot when, all at once, the three characters turn toward camera in their
individual frames, and smirk a little before moving in for the kill. All at
once, the frame unites the three characters in terms of their profession and
actions.
Roy and Lilly are estranged, though a job in L.A. brings
mother into town for a chance to see the son who left home seven years earlier
without looking back. She spent his youth playing con games (“on the grift” in
Thompson’s lingo), but Roy learned his trade from a mentor in the Midwest after
leaving home. He learned two important rules he tries to adhere to: don’t work
with a partner and only play the short con. Roy is small time. He rips off
bartenders for $10 a pop, sometimes taking a baseball bat to the gut when he
gets caught. That he’s such a low-level operator leads him to believe he can
quit whenever he wants because he’s never in too deep. This is like the
alcoholic who doesn’t drink enough to get sloppy drunk and thinks he can stop
drinking tomorrow if he chooses. But rock bottom is unlikely to hit such a
slow-moving lifestyle.
This is a noir that gives us not just one, but two femmes
fatales. Lilly is an ash blonde trying to make herself look ten years younger
than she is. She’s trying to be as smooth as Barbara Stanwyck as she maneuvers
to get out from under the thumb of her abusive boss. The script makes it fairly
clear that her interest in reconnecting with Roy is purely self-motivated and
has little to do with the loss of her son, but the final scene of the film
suggests much deeper feelings than she had any idea existed. Myra is the
second. She has probably never met a man she hasn’t played in one way or
another. Her sexual relationship with Roy is a long con designed to rope him
into teaming up with her for a big money scam. It’s telling that Myra has some
physical resemblance to Lilly, the implication being that Roy has an unnatural
attraction to his mother, who was still quite young and attractive during his
teenage years. It’s never made explicit whether or not there was ever anything
tawdry between them, but Lilly, not above using anything in her arsenal to get
what she wants, makes a pass at her own son when trying to get him to give up
what is most precious to him. Myra, an astute observer of human behavior, knows
perfectly well how to press Roy’s manipulation buttons when she senses
something odd.
The film’s got a great script, chock full of pulpy hard-boiled
dialogue that is completely self-aware:
“I have seen women like you before, baby. You're
double-tough and you are sharp as a razor, and you get what you want or else.”
“You talk the lingo. What’s your pitch?”
“Do you want to stick to that story or do you want to
keep your teeth?”
These are just a few of the choice examples of the
ridiculous, yet pitch-perfect lines sprinkled throughout Westlake’s screenplay.
Frears’ direction is self-assured, bearing the marks of an experienced hand
behind the camera. Frears came up working in British television, probably
giving him the tools to work fast, making quick decisions. He had a handful of
features under his belt before this project, including the rough, but stylish The Hit. Almost as good as the script is
the acting. Huston is the old pro in the cast. Bening was still little-known
and untested, but proves her mettle with a tough and fast performance. But it’s
Cusack who is the most surprising. Roy Dillon is unlike any film role he had
previously, and still different to anything he’s done since. It’s a
one-of-a-kind part and Frears obviously took a big chance casting him, but it
pays off. He’s got the boyish innocence to play the 25-year old, but he can
also handle the tough talk. He plays dark and mysterious better than I ever
would have imagined from the guy who was most famous for Lloyd Dobler and Lane
Meyer.
The script, the directing and the acting are the big
three that we notice on the surface, but so much credit for the film’s
atmosphere has to go first to Elmer Bernstein, who provides a score that echoes
classical Hollywood, principally because he helped create it, and also to
production designer Dennis Gassner. His choices in terms of costuming, set
design, and locations are what give life to The
Grifters. If you look at Gassner’s credits as production designer, you’ll
see a list of films that each have a unique visual style in terms of what’s
depicted on screen. In that case, The
Grifters is that rare example of a film that gets all the details, from
acting to costumes, just right. When we think about the great films with any
depth, we find the same care has been put into those details across the board.
Frears’ film may have gone under the radar during the last two decades, but it
deserves more attention than it gets.
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