Out of Sight is
quite simply one of the slickest and sexiest films of at least the last two
decades. One scene in particular, involving a female Federal Marshal and the
bank robber she’s chasing taking a “time out” from their respective
responsibilities to fan the flames of passion between them is stylishly edited
and beautifully realized. I loved this movie when I first saw it. I loved every
minute of it as it played out on the big screen. I loved the smoldering Clooney
and the incredibly sexy Lopez; loved the threatening Don Cheadle and the comic
relief Steve Zahn; loved the fact that the Clooney and Lopez characters turn
some common genre stereotypes on their heads; but mostly I loved the film’s
sense of cool stemming from its jazz, funk, soul soundtrack, its sharp
dialogue, and Tarantino-esque flair.
And that brings me to the really interesting thing about Out of Sight and its place in 90s
cinema. This was director Steven Soderbergh’s second breakout film. He won the
top prize at the Cannes Film Festival and ushered in a new era for indie cinema
in America with sex, lies, and videotape
but then fell into a creative and commercial morass that almost led him to quit.
With Out of Sight he showed
definitively that he could bring an indie sensibility and truly creative force
to studio films. Out of Sight is so
clearly the product of a resurgence in hard-boiled crime stories in the late
90s brought on by the popularity of Pulp Fiction and the adaptation of Elmore Leonard’s Get Shorty, which was itself a success thanks to Tarantino chic.
It’s no coincidence that Tarantino’s follow up to Pulp Fiction was Jackie Brown,
also an adaptation of a Leonard novel. Out
of Sight connects several times to that film with a crossover character and
a cameo appearance by Samuel L. Jackson, an actor made world famous by Tarantino
having cast him. And let’s not forget that Tarantino’s success was made
possible by sex, lies, and videotape.
So Soderbergh begets Tarantino and then disappears. Finally, years later,
Tarantino begets the resurrection of Soderbergh, bringing it full circle as the
student schools the teacher.
Out of Sight is
just plain sexy. From the opening funk bass line of The Isley Brothers’ “It’s
Your Thing” that plays over the Universal logo, the stage is set for a relaxed
and ultra-cool experience. By the time George Clooney as bank robber Jack Foley
climbs into the trunk of a car with Jennifer Lopez’s Karen Sisco, a Federal
Marshal, we are hooked. The trunk scene works off the chemistry between the
film’s two powerful leads. Clooney wasn’t yet the matinee idol movie star he
would become in later years and Lopez had yet to become a pop star. Believe it
or not, there was a time when she was a serious actress who garnered
well-deserved accolades for her roles in My
Family and Selena. As they lay in
the trunk of that car, Karen the hostage being held by a suave prison escapee,
awaiting her moment to reach for the handgun recently gifted her by her father
(Dennis Farina), they discuss old movies – namely Three Days of the Condor, which also involves a romance between dashing
kidnapper and hostage.
You can really see Soderbergh’s style developing and
gelling in Out of Sight, particularly
his penchant for imbuing different locales with their own unique visual style
and color palette. Sequences at Lompoc Prison are bleached out, with bright
yellows and whites. When the story shifts to Detroit, it’s all cobalt and blue,
and the tenor of the soundtrack changes as well from the more jazzy elements of
David Holmes’ original score in the Florida scenes to soul and funk – music that
is obviously at the heart of Motown. Soderbergh would go on to nearly perfect
this style with Traffic two years
later. Scott Frank’s adaptation works wonderfully on the screen and the
dialogue is top notch. In addition to the trunk scene, there’s also a great
sequence set in a Detroit hotel when Foley comes to meet Karen. Their playful
banter at the bar is brilliantly intercut with scenes of them undressing in her
room (Soderbergh has always been more fascinated with the before and after
aspects of sex than with the act itself).
Part of what makes Out
of Sight so special is the bevy of great actors filling out key roles.
These are the details that can make or break a movie sometimes. There’s Luis
Guzman as a fellow prison escapee; Catherine Keener as Foley’s ex-wife; Ving
Rhames as Foley’s best friend, partner, and confidante; Steve Zahn hilariously
portraying a kind of idiot criminal who gets caught wearing pants that are way
too big for him; Albert Brooks cast against type as a Wall Street big shot in
prison for financial fraud; Don Cheadle is electric as another inmate; Isaiah
Washington is menacing as a brutal criminal in the Detroit sequence; and in a
single scene Viola Davis leaves a lasting impression. Each of these actors
brings his or her own take on the character. Some of them were known at the
time, and the rest are much more known now, but what they all have in common in
this film is that they disappear into their roles no matter how small or
seemingly insignificant.
This is one of those movies in my collection that is just
purely pleasurable to watch. It never feels like a lot of work, although that
doesn’t mean there’s no complexity. It’s proof positive that movies don’t have
to be mass marketed to idiots in order to be entertaining.
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