Movie Reviews: Baby Driver, House of Strangers

Baby Driver
directed by Edgar Wright
Classic action film with familar storyline and twist ending

I wasn't planning to watch this movie because I thought the story had to be similar to Drive or a million other movies where the hoodlum with a heart of gold has to do one more job for the Big Bad before he and his innocent but oh so sexy gun moll make a run for the border, pursued both by Johnny Law and the minions of the Big Bad. Been there, done that. But my brother all but insisted that I watch this film. As he's normally not that interested in what other people do for entertainment I thought that the film might be worthwhile. Well, I was right on both counts. This is a story which you have seen or read many millions of times before on screen or in print. Generally speaking you will be able to call out the plot twists and turns as they occur. The ending was something different but that aside there weren't too many surprises in this film. But the relative lack of originality didn't matter as much because the acting of the two leads felt very natural and organic. And anytime you might have started to think that this film felt unoriginal the director bopped you over the head with an adrenaline charge of a car chase or foot chase.
Baby Driver, much like The Princess Bride, had something positive to say about True Love. Almost by definition that message never feels completely hackneyed. So there was that.

A young man who doesn't talk very much is named Baby (Ansel Elgort). None of his co-workers really believe his name is Baby but it doesn't really matter what they believe as most of them use aliases anyway. Baby works for the Atlanta area crime boss Doc (Kevin Spacey). Via inside information, corrupt cops and meticulous planning Doc arranges various armed robberies, often bank robberies. Never mind that in real life bank robberies are high risk for small reward. Most organized criminals eschew the sort of public cowboy stuff that brings them to the direct attention of the FBI and Federal Marshals. The movie is not interested in those facts. So you don't need to worry about them either.  As you might imagine from his name, Baby is no tough guy. He doesn't go into the banks or establishments that his team robs. He doesn't carry a gun or weapon. 

No what Baby is, is a driver. Baby's the best driver Doc has ever had. Baby might be the best driver that ever was. As a precocious orphan Baby stole Doc's car, not realizing who Doc was. Doc tracked Baby down and made him an offer he couldn't refuse. Baby works for Doc until the debt is paid off. Baby is an orphan because his squabbling parents were killed in an accident. That same accident gave Baby tinnitus. In order to block this out Baby is rarely without music on his Ipod. A music fanatic, Baby likes to drive to music appropriate to his mood or the job. He also makes his own mix tapes. The film humorously matches events on screen to song lyrics or song rhythms.

If the music isn't right, Baby won't do the job. Very young looking with a blank mien, Baby tends to evoke either contempt or condescension from his co-workers, who usually assume that Baby is mentally retarded, virginal or both.

Baby still lives with his deaf/mute foster father Joseph (C.J. Jones). At this point, Baby takes care of Joseph more than the other way around. After a particularly harrowing getaway, Doc tells Baby that Baby's debt is paid. He's free to leave. Baby, who has bonded over music with the garrulous pretty waitress Debora (Lily James), starts working as a pizza delivery driver. Baby falls in love with Debora. Of course he hasn't shared details about his previous line of work. But there's no movie without tension, is there. Doc has another job that he wants Baby to do. Baby is free to say no but then Doc couldn't guarantee the safety of Debora or Joseph now could he? Doc is also breaking the rules by using people he's used before. For this job Doc's crew will include the quick tempered and violent paranoid Batts (Jamie Foxx) and the seemingly friendly but quite dangerous husband and wife couple of Buddy (Jon Hamm) and Darling (Eliza Gonzalez). Baby has worked with these people on previous jobs. He doesn't like them, especially Batts, who will kill at the drop of a hat. But a man's got to do what he's got to do doesn't he?

This was a fun movie with an ending that was a little different than I've come to expect from films like this. There is a lot of sixties and seventies era blues and soul music on the soundtrack. Baby has good taste. Given the recent revelations about Kevin Spacey it felt sort of weird watching him call a younger man "Baby"  but that's life. Jon Bernthal, Flea, Walter Hill, Paul Williams, Big Boi and Killer Mike all have small roles. There appears to have been a shout out to Guardians of the Galaxy concerning some of the hero's motivations. You should see this film.
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House of Strangers
directed by Joseph Mankiewicz
Family melodrama masquerading as film noir.

I thought I had seen all the good movies starring Eddie G Robinson, but I ran across this one last week and thought it worth mentioning. This 1949 film is also one which has Richard Conte (Don Barzini from The Godfather) in a romantic lead role. He did it pretty well too. It's sobering to get older and realize that people you only knew as older actors were once young, just like you. So it goes.
Although this movie could certainly be understood as a noir film, because of the lighting and cinematography choices, you could just as easily say that this is a family melodrama. If you changed the actors' race this wouldn't have looked too different from what Tyler Perry does. Well maybe that's a bridge too far. There weren't any cross dressing or body function jokes or paeans to "strong women" in this film. Still, the family story line is probably something most people can relate to one way or the other. This film is based on a book by Jerome Weidman, titled "I'll never go there anymore". 

I've seen in my personal life how relatives can hold on to resentments and mistreatments, real or imagined for years, even decades. If not addressed these things can be dangerous both to the person who has them and the target of his animosity. 

House of Strangers examines these familial conflicts. Gino Monetti (Edward G. Robinson) is an Italian-American immigrant New York City banker. Gino started with nothing. He's now a big shot. Gino's success has hurt his relationship with his family. He has a cold marriage with his wife Theresa (Esther Minciotti). Three of his four sons work for Gino at the bank, just like Gino wanted. But Gino doesn't respect those three sons, Joe (Luther Adler), Tony (Efrem Zimbalist Jr.), and Pietro (Paul Valentine). Gino keeps them all under his thumb without authority to do anything. Gino routinely insults them and micromanages what little work they have. To make matter worse, Gino continually negatively compares his three older sons with his younger son and favorite Max (Richard Conte) who has carved out his own career as a slightly shady lawyer and bail bondsman. Max occasionally works with his father but he doesn't work for him, a distinction which is important to his brothers.

Max is supposed to marry Maria (Debra Paget) but continues to carry on with the beautiful, independent and possibly dangerous Irene (Susan Hayward). Sooner or later Max is going to have to make a choice. Maria might look the other way provided she gets the ring but Irene won't. She wants Max all to herself or she doesn't want him at all. Hayward looks really good in this movie. She's sexy and stylish all at the same time.

Gino is not a modern corporate tycoon. Much like a criminal godfather, Gino prefers to seal a deal with a handshake, not a signed contract. Gino charges different people different interest rates, rates that may not always be in accordance with usury laws. And Gino keeps records of what he's loaned and what he's owed in his head or scribbled on the back of envelopes. Gino sometimes forgives debt or increases it based on whether he thinks the debtor is a good person. Gino never went to business school; he knows nothing of modern business practices. So Gino runs afoul of bank regulators. Facing criminal charges, Gino signs the bank over to his wife, with the full intention of returning to control once the legal unpleasantness is settled. But Theresa doesn't want the hassle. She transfers control of the bank to the three older sons. When Max comes to help his father and suggests some possible fixes he learns that his brothers really really really don't like their father. Max is the only one willing to help Gino, even as he sees that his idealized version of his father isn't accurate.

Other secrets and resentments slowly reveal themselves. Much of the film is actually a flashback. This was shot in glorious black and white. Great stuff. The photography is very sharp. All the men and women are dressed to kill. No slobs can be found here. You can understand the struggles between the different generations and among the brothers. Anyone who has experienced family unpleasantness will be able to relate.You may wonder how your relationship with your parents and siblings has impacted other aspects of your life for good or bad. Our parents give us much that is good. They also, purposely or not, gave us some bad traits as well. When Theresa tells Gino that his wealth isn't worth their family you can feel the truth of it. I haven't seen much work by Conte but this is great acting by Robinson. He lights up the screen every time he's on it. 
There is some subtext about the immigrant and/or minority experience. Gino feels betrayed by Italian-American customers who testify against him. He views himself as a provider and protector of the Italian-American community.
This film has the verbal dexterous pugilism which so characterized Robinson's best work:
"I'll have you know my husband died happy!"
"Your husband was happy to die, which is a different thing."

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