Inside Man Review [3]
Posted by Chad Webb on 04.06.2006
Inside Man crawls inside your mind as a sharp psychological thriller.
Denzel Washington: Detective Keith Frazier
Clive Owen: Dalton Russell
Jodie Foster: Madeline White
Christopher Plummer: Arthur Case
Willem Dafoe: Captain John Darius
Chiwetel Ejiofor: Detective Bill Michell
Directed By: Spike Lee
Release Date: March 24, 2006
Running Time: 129 minutes
Rated R for language and some violent images.
The first time I saw Dog Day Afternoon was while I was in college, during my Hostage Negotiation class. At that point in my life, I had passed the stage of being bored when watching films in school because I was ready and waiting to see any and all new films whenever I could. The film was undoubtedly an accurate portrayal of what not to do in a hostage situation, but I was unmoved as a whole when it was all set and done. It struck me as a controversial piece of cinema that was worth one look, but not repeated viewings. Ever since that class I have been ready to attack any film that deals with this subject. Inside Man is not 100% accurate, but it is close enough as a slick, crafty, and rousing psychological thriller that keeps the audience on the edge of their seat with delectable conundrums.
The film opens with Dalton Russell (Clive Owen) explaining that he set in motion the perfect bank robbery. He insists that we pay attention because he never repeats himself. His plan soon becomes a reality when he strolls into the Manhattan Trust Bank with some accomplices and orders everyone on the floor. He orders all the hostages to strip, and put on the exact outfit that he and the fellow accomplices are wearing. Before long, Detective Keith Frazier (Denzel Washington) is assigned to the incident, along with his partner Detective Bill Mitchell (Chiwetel Ejiofor). After getting a briefing from Captain John Darius (Willem Dafoe), they begin to realize that they are dealing with a very calm, clever, and swift individual. Frazier remains at ease as he tries to match wits with the robber, but his negotiations get more complicated when Madeline White (Jodie Foster) arrives on the scene with the Mayor. Her goal is to protect a certain "something" in the bank for her client Arthur Case (Christopher Plummer), who owns the bank. Frazier finds himself surrounded by various minds, all of which have their own agendas, and if the circumstances are not diffused quickly, all of these combustible elements will explode all around him.
As Detective Keith Frazier, Denzel Washington appears more at ease and more focused on the task at hand than he has been in quite some time. Frazier is a laconic and gifted detective who never lets his guard down. Even when he is unaware of what is transpiring, or what the criminals are thinking, he keeps his head held high to prove that he will not yield in his quest to apprehend the necessary parties. The job of a negotiator is increasingly stressful and difficult. Frazier is superlative in his approach of separating the situations in which a calm, cool, and collected mood is essential, to the times when a vigorous, dominate, and intense technique is advantageous. I was especially mesmerized by the interviewing sequences, in which Frazier and his partner Bill Mitchell are like master surgeons dissecting the victims' answers to disinter their lies.
Except for the very beginning, Clive Owen had to prepare for the role of Dalton Russell knowing that he had to be persuasive without the use of beneficial facial expressions like a smirk, frown, or a snarl. He has an edge on the authorities that one cannot fathom. Russell is the incisive ringleader to his cronies, and he is permanently one step ahead of the game. On the surface he might seem like one more criminal mastermind who knows all the tricks, but he has more up his sleeve that enables him to have the eyes of every single audience member locked on him. Owen is just as charismatic behind a mask, as he is without one. His performance here puts his portrayal of Charles Schine in Derailed to shame.
Jodie Foster leads the supporting characters with an extreme presence of condescension and influence as Madeline White. Like everyone else involved with these volatile circumstances, she has a set goal. Madeline seems to have everyone in her pocket, but not much else is known unfortunately. She might be a petite female, but she possesses as much muscle as any of the men, if not more. She manipulates the system in her mysterious position, and is not afraid to expose herself as a cold and callous. Regardless of the obvious, and might I add, minor discrepancy of Arthur Case's age, Christopher Plummer walks with his limp wonderfully as a distressed bank owner. Willem Dafoe is terrific as a somewhat naïve Captain John Darius who becomes relaxed when Frazier starts giving the orders. The part of Detective Bill Mitchell was crucial because it supplied an extra body and mind for Frazier to turn to. Chiwetel Ejiofor is comfortable, restrained, and supportive during Frazier's pursuit for the truth.
If Spike Lee is the hammer, the three main stars in Owen, Washington, and Foster are the nails. Together, they drive home raw emotion and suspense that is always on target. What should captivate viewers about Lee's touch on Inside Man is his undeniably flawless and picturesque New York City air, which only he can shape. Spike Lee's tone is very soothing, and he keeps all of his gears functioning like a well-oiled machine. Around each corner is the usual, but appropriately engaging banter, which elevates the levity. The pieces of the puzzle are positioned carefully, while the screenplay by newcomer Russell Gerwitz is sharp and gripping. They toy with moviegoers by cutting back and forth between the execution of the crime and the repercussions. The mind games never cease.
The film works from start to finish, but the majority of the flaws rest with the events surrounding Jodie Foster's character. The intrigue of this storyline is not eliminated by some minor scrapes and burns. It is parallel to previous heist flicks in that it is has the routine images of the villain taking control of the fort, and the police responding; but it is genuine, and when all that concludes, the wheels really start moving. Inside Man is not the first, and won't be the last, psychological thriller that occupies some plot holes. For me, it's fun to discuss those unexpected surprises afterward. It's true, some aspects could leave one scratching their heads, but to dwell on them makes no sense. If the harshest critics remained consistent in their relentless scrutiny of all thrillers, I would be shocked.
Lee and company bring plenty of tension and electricity to the fold, but that's not all that flourishes. All of Lee's close associates aid in this slick and solid work. The pleasing and elegant jazzy score given by Terence Blanchard establishes the weight on certain characters and the organization that the others hold. The editing of Barry Alexander Brown is suitably trimmed to entice the electricity. Matthew Libatique's cinematography shapes the pressure of the moment and dark ambiance inside the bank.
Since this is a strike at mainstream for Spike, I would call this a hybrid of many different elements. All sides are covered, and the strengths of each star are conveyed to develop a concrete and mischievous urban thriller surrounded with paranoia. Even the hostages kept me fascinated from the voluptuous brunettes, the elderly woman who refused to take her clothes off, and the honest black child playing his hand-held video game. Lee takes some pages out of his old book, but he also adds some brilliant new pages that might not wrap up into a typical "Spike Lee Joint", but his choices materialize into a fulfilling cat and mouse game.
The 411: Most people are calling this average, but it is easily one of the better thrillers that audiences have been given lately. To most, it will definitely not surpass Dog Day Afternoon, but it should, in more ways than one. You will enjoy this film by Spike Lee. It will provide a great night at the movies and it will keep you guessing until the very end.
