James Cagney would be proud

Rating: 9/10 (1 February 2011)

Back in the 1930s, the gangster film was considered the most critically and commercially successful genre for studios to invest in, probably because so much of what was shown on screen rang so close to home and seemed very real to its contextual audience. Warner Brothers stood at the forefront of this revolution, almost solely on the back of James Cagney, an actor who made a life out of portraying 'tough guy' Americanised Mafiosi, and creating the archetypal figure that forms in the mind of modern-day audiences when they hear the word 'gangster.' With The Untouchables, Brian De Palma has directed an excellent homage to Cagney's crime classics, synchronising the plot and script of those films with a modern self- reflexive undertone not unlike that used in fellow 80's noir thriller Blade Runner.
The film stars Kevin Costner as Federal Agent Elliot Ness and is set in Prohibition-era Chicago. Al Capone (Robert De Niro) rules the streets, supplying illegal alcohol to those who want it and bribing those who don't. Contrary to popular belief, the film's title refers not to the criminals, but the small team Ness assembles to combat this corruption, including ageing cop Jim Malone (Sean Connery, in an Oscar-winning role), accountant Oscar Wallace (Charles Martin Smith) and newbie George Stone (Andy Garcia).
As mentioned above, The Untouchables applies a plot formula used an infinite amount of times since the 1930s: the confrontation of good versus evil, and how the pursuit of victory impacts each side. In fact, the plot is not the only convention De Palma has adapted from the earliest of crime films. The production crew pulls out all the stops to add authenticity to the setting, from the buildings, to the cars, to the clothes (legend has it De Niro tracked down Al Capone's personal tailor and asked him to design his wardrobe). But the biggest wink to the audience is delivered through the characters and indeed, the script itself.
Through the first, say, half hour of The Untouchables, you might find yourself questioning its reputation as a respected classic. Much of the dialogue appears cheesy, and the characters over-the-top in their delivery and general mannerisms. However, as the film progresses, it becomes clear that it was written in such a way as to appear like a movie straight out of the Depression years (where characters seemed excessively emotive and outlandish in their behaviour by today's standards); and the sooner that is understood, the more enjoyable and engaging one will find the movie.
Within this delightful script is a multitude of likable, well-developed characters. Connery's imposing presence and husky voice made him an excellent choice for the no-nonsense Malone, but it is arguably De Niro who delivers the best performance. Used sparingly, he makes the most of his screen time with the best dialogue of any character, seamlessly shifting his character's demeanour from charming (cracking jokes with members of the press) to macabre (all I have to say is: 'baseball, gentlemen!').
Finally, the camera is used in often-breathtaking fashion throughout the film. Long tracking shots build suspense, and the camera's involvement in a particular scene involving an assassination was (for me, at least) the turning point from which the film excelled from good to great. And although it has since become Scorsese who has made the steadycam shot a key weapon in his arsenal (think entering the Copacabana in Goodfellas), De Palma uses it to excellent effect, some three years earlier than Marty's triumph, no less. And by the climax, everything combines to form De Palma's best film. And remember, this man made Scarface.
*There's nothing I love more than a bit of feedback, good or bad. So drop me a line on jnatsis@iprimus.com.au and let me know what you thought of my review.*