The Luers DVD Review: Before The Devil Knows You're Dead

Posted by Erik Luers on 04.27.2008

Every family has their secrets.....

Every review I've read for Before the Devil Knows Your Dead starts with the fact that Sydney Lumet is eighty-three years old, as if he should be decaying in a nursing home somewhere instead of directing motion pictures. Akira Kurosawa directed films into his eighties, as did the recently deceased Ingmar Bergman and Robert Altman, so why is this such a monumental achievement? What these reviewers are trying to say, I imagine, is that it is rare for a director of this age to make a picture of this quality. It is common knowledge that many directors become out of touch with the current trends and styles of film making, lacking an authenticity their earlier films possessed (some examples may be Francis Ford Coppola and Woody Allen, though their newer works still have their moments). Lumet, on the other hand, seems to remain consistently in control of his medium. Sure, he may not aim as high as some of the directors mentioned above, but his films are always solid pieces of storytelling and craftsmanship.

Before the Devil Knows You're Dead is the story of two brothers whose one bad decision is escalated to epic proportions. A plan sets the story into motion and continues to fall apart as the film progresses. Like Lumet's film Dog Day Afternoon (1975), our main characters find an easy way to commit a robbery, or so they think. Unfortunately, they do not plan on the unpredictability of life intervening. While Sonny's charade lasted twenty four hours, these two brothers are haunted with a much longer lasting experience, which rises to a mammoth, life-altering conclusion.

Lumet has described this film as a melodrama of sorts, far removed from the suspense thriller you may have expected from the film's marketing campaign. Each scene plays at a heightened reality, enabling its actors to go all the way (and sometimes over the top) with their performances. Philip Seymour Hoffman gives his best performance in quite a while as Andy, the conniving brother in charge of the crime. Hoffman makes Andy more than just a caricature of a greedy, unloved child; he expresses real pain in his need to be successful in the workplace and as a member of his family. He is vicious when he needs to be, of course, but the behavior is somewhat warranted, up to a point. As Hank, the younger brother, Ethan Hawke is less successful in evoking the right tone. He sometimes goes for a wide range of expressions that seem to be displayed due to a lack of understanding for the material. That's not to say that he doesn't have his moments (the panic attack he experiences as he drives out of the shopping center is effective), but Hawke is certainly in less control here, though I suppose that's in tune with his naive character.

Some will find the unfolding events to be a little too coincidental or convenient to be taken seriously. This is a melodrama after all, and the structure is upheld accordingly. However, the cast and crew are strong enough to make it work. The ending may be a little hard to swallow, but it's certainly not out of left field; every prior action has been leading up to this Greek tragedy inspired conclusion. The final five minutes are expertly performed and modestly shot, as if Lumet understands the power of his material and allows it to shine effortlessly. His confidence has allowed him to step aside and let the story simple be told.

The film's structure (told in some genius and some amateurish and repetitive flashbacks) prevents the film from completely coming together when we fade to black, but there is enough here to recommend. The performances are a mixed bag (Hawke and Marisa Tomei don't gain control of their material), but there are some really effective ones as well. Many New York theater actors were hired in minor roles and each does solid work, especially Brian F. O' Byrne and Michael Shannon (both seen in Bug). The screenplay by Kelly Masterson is complex and intriguing, and Lumet's direction is assured, though his choice to shoot in High Definition comes off as ugly in some scenes. However, he can stage a scene like the best of them, and his framing is precise without being flashy.

Though not his best work, Before the Devil Knows You're Dead is easily Lumet's finest achievement this decade. He assembles a cast of great skill and works with a screenwriter budding with talent, and the results prove very satisfying. Some actions may be a little hard to accept but go with it. The family that slays together stays together, and you will surely enjoy watching. It's good fun.


Technical Aspects

Video quality: Presented in its 1.85:1 widescreen ratio, the film looks good. Shot with Hi Definition cameras, some questionable lighting choices prevents certain moments from hitting their mark. The lack of polish does not add grittiness to the cinematography, but rather a sense of a rushed, unfinished product. Still, for what they're working with, the transfer isn't bad.

Audio quality: Presented in Dolby Digital 5.1 surround sound, the sound is clean, clear and distinctive, without signs of hissing or distorted defects.


Special Features

The extras include a commentary track from Lumet, Hawke and Hoffman, a twenty-five minute behind the scenes look at the making of the film, and its original theatrical trailer.

The 411: Although not a masterpiece, Before the Devil Knows You're Dead is a strong piece of work, worth recommending for its riveting story, its intense performances, and acute attention to detail. Check this one out, and maybe even purchase the DVD from your local mom and pop video store. At least it's not a remake of Lumet's Family Business from 1989, and yes, I'm still trying to forget about that one.

Final Score:  7.0   [ Good ]