Friday, 4/11/97
‘Grosse Point’ right on comedic target
Director Armitage presents dark qualities without sacrificing
genre
By Emily Forster
Daily Bruin Senior Staff
Making a funny film about not-so-funny people is never easy.
When filmmakers create a comedy about a professional killer, they
often sacrifice the gritty nature of their subject matter for the
likability of their aimed genre. But sometimes, movie makers get it
right.
Some films have successfully satirized the gory business of
professional killing, such as the Belgium masterpiece "Man Bites
Dog," while others, interested in keeping the film light, make
diluted movies like "Get Shorty."
While it is not exactly a hard-hitting movie, "Grosse Pointe
Blank" does not completely ignore the disturbing qualities of its
professional killer-protagonist, Martin Blank (played by John
Cusack, "City Hall," "Say Anything"). He finds himself drawn back
to his home town in Grosse Pointe, Michigan, by both business and
pleasure. The business is a lucrative murder contract out on a
local business man and the pleasure is a reunion with Debi (played
by Minnie Driver, "Sleepers" and "Circle of Friends"), the
long-lost senior prom date who still haunts Martin’s dreams some 10
years after he stood her up on the night of the big dance.
Also in town for the weekend is Martin’s hit-man rival, Grocer
(played by Dan Aykroyd, "Celtic Pride," "Trading Places"), and a
few tweeky classmates from Martin’s high school days. As Martin
finds himself grappling with his amoral lifestyle, his killing and
high school worlds come together in a comedic blend of embarrassing
situations and near-death encounters. Beginning with his decision
to visit the house he grew up in, only to find it renovated into a
convenience store, the film explores how people reconcile with
their past and make the best of the present.
Emmy Award nominated director George Armitage ("Miami Blues,"
HBO’s film "The Late Shift") gets the film rolling with a strangely
comedic assassination, and keeps the tone and look of the film
engaging, but simple. Armitage also keeps the performances equally
interesting, but not overdone. It is clear his film was made with
tight control and it shows in its slick shots and finely-tuned
performances.
Cusack’s performance, in particular, is masterful in that he
does not hide from the shady aspects of his morally oblivious
character. Cusack conveys enough icy intensity to play a
cold-hearted killer, but shows enough insecurity and eagerness to
maintain a sympathetic vulnerability. Many actors would make the
mistake of forsaking a character’s dark side for cutesy charisma,
and although Cusack undeniably plays for audience sympathy, he
never hides from his character’s immorality. His clean, handsome
looks give him the suave persona necessary to come off as a tough
guy. And his mannerisms give away an inner turmoil that audiences
need to forgive his flagrant disregard for life.
While Driver’s performance is not as rich or complex as
Cusack’s, she is believable as a mid-western radio DJ who can’t get
past her past. Debi’s endearing wit, coupled with her delicate
beauty, show the audience why Martin has obsessed over her for
nearly a decade. And Driver’s enthusiasm and youthful charm add to
her authentic portrayal of a woman hung up on her high school
years.
Unfortunately, Driver’s role loses all authenticity when the
plot takes a ridiculous twist and the entire cast suffers from a
collective loss of reason. The last 15 minutes of the film are an
embarrassing cap on what is an otherwise well-plotted, smoothly
paced story that glorifies tragic people in comedic situations.
The film is impressive because it makes no attempts to change
the comedic genre or society. It is just an entertaining film, and
although it has a message about confrontations with the past, it
keeps its morals unobtrusive. And for ’80s music lovers, it has a
really good soundtrack.
Grade: B+