Jack and Catherine feel bad about this happening to Harry and they invite him to come and live in the apartment above their garage. Harry and Jack become best friends, as do Harry and Catherine in a different way. The two men spend their time playing gin rummy, and all three have fun joking that Harry is unsuccessfully trying to get into bed with Catherine. Mel, who is despondent and sullen about having to come back home, is even more despondent and sullen about having Harry around all the time. Back in 1994, director Robert Benton, screenwriter Richard Russo, and several of the same production people worked together with Paul Newman on Nobody's Fool , a film that I thought was satisfying, refreshing, and quietly intelligent, a film that was about things that people might actually be concerned with.
Twilight is a different kind of venture, but almost as satisfying.
Classic film noir was constructed out of the debris of '40s and '50s civilization. That debris and the look that went with it are the most notable surface characteristics of the style, but they aren't its essence. Benton and his colleagues Piotr Sobocinski and David Gropman have translated the style into a '90s vernacular. For the anxiety of the '40s they have substituted a pervasive emptiness and boredom. The deep chiaroscuro in black and white has been translated into a contemporary, television-like style.