In the Company of Thieves
December 28, 2001 | 12:00am
In The Score, the film title refers, perhaps, to the casting coup. The movie poster puts it plainly: The best actors of three generations – Marlon Brando, Robert De Niro, and Edwin Norton.
The heist flick is a contemporary rime thriller that centers around Nick Wells (De Niro), a master thief who wants to retire and wed Diane (Angela Basset), his girlfriend of six years, but is persuaded by Max (Brando), his long-time comrade and fence, to pull one last score. Nick violates two of his most important rules-always work alone and never operate in the city where you live. Max teams up with Jack Teller (Norton), a brash young con-artist who needs Nick’s safe-cracking skills to score a scepter locked in the vaults of Montreal’s Custom House. The film offers the pleasure of watching a plan perfectly executed and the converse pleasure of seeing it go up in smoke.
Three of the most respected and feared actors of their respective generations find themselves in the company of thieves. As Max, Brando strangely dominates space. The heart of his genius is his spontaneity and sense of timing; it is full of silences. As Nick Wells, De Niro is gripping in his terse caution. His feral depths skim the surface of his controlled exterior, occasionally showing a certain fin-de-siecle weariness. As both Brian and Jack Teller, Norton nails two personalities. He seduces and hammers the audience with his act.
The three transform the script to the burglary becomes a metaphor for acting: Brando, representing raw talent; De Niro, combining talent with very disciplined career choices; and Norton, a young punk making his mark. Aside from the millions, the actors take turns stealing scenes from each other.
The main problem with the movie, at least in its commercial run, is its moralistic ending. The first time the film was previewed for the media, it did not have the written epilogue. Of course, crime does not pay, but need this point be beaten over the heads of mature audiences? Arguing that there is no redeeming value about crooks outsmarting each other grossly misses the point of the movie. It seems that if the MTRCB were to be followed, we would be left with fairy tales – the watered down versions - for entertainment.
Be that as it may, The Score draws interest as being the first film in which two legendary performers, namely Brando and De Niro, share scenes together. (In Godfather II, the two never appeared on camera at the same time.) the marquee alone makes the film noteworthy.
Send comments to erwin_romulo@hotmail.com and dafort@blitzdesignwork.
The heist flick is a contemporary rime thriller that centers around Nick Wells (De Niro), a master thief who wants to retire and wed Diane (Angela Basset), his girlfriend of six years, but is persuaded by Max (Brando), his long-time comrade and fence, to pull one last score. Nick violates two of his most important rules-always work alone and never operate in the city where you live. Max teams up with Jack Teller (Norton), a brash young con-artist who needs Nick’s safe-cracking skills to score a scepter locked in the vaults of Montreal’s Custom House. The film offers the pleasure of watching a plan perfectly executed and the converse pleasure of seeing it go up in smoke.
Three of the most respected and feared actors of their respective generations find themselves in the company of thieves. As Max, Brando strangely dominates space. The heart of his genius is his spontaneity and sense of timing; it is full of silences. As Nick Wells, De Niro is gripping in his terse caution. His feral depths skim the surface of his controlled exterior, occasionally showing a certain fin-de-siecle weariness. As both Brian and Jack Teller, Norton nails two personalities. He seduces and hammers the audience with his act.
The three transform the script to the burglary becomes a metaphor for acting: Brando, representing raw talent; De Niro, combining talent with very disciplined career choices; and Norton, a young punk making his mark. Aside from the millions, the actors take turns stealing scenes from each other.
The main problem with the movie, at least in its commercial run, is its moralistic ending. The first time the film was previewed for the media, it did not have the written epilogue. Of course, crime does not pay, but need this point be beaten over the heads of mature audiences? Arguing that there is no redeeming value about crooks outsmarting each other grossly misses the point of the movie. It seems that if the MTRCB were to be followed, we would be left with fairy tales – the watered down versions - for entertainment.
Be that as it may, The Score draws interest as being the first film in which two legendary performers, namely Brando and De Niro, share scenes together. (In Godfather II, the two never appeared on camera at the same time.) the marquee alone makes the film noteworthy.
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