Hollywood versions of the novels of Jim Thompson are a mixed bag to say the least and ironically, it has been two French directors, Alain Corneau and Bertrand Tavernier, who have best captured the nihilism and sheer nastiness of Thompson's world in 'Série Noire' and 'Coup de Torchon'. There has to be an exception of course and for this viewer at any rate it has been supplied by producer Martin Scorsese and director Stephen Frears with a superlative screenplay by prolific novelist Donald Westlake.
Scorsese had long since seen the filmic potential of Thompson's novel but was engaged elsewhere so entrusted the film to Englishman Frears. This proved to be an inspired choice for it is doubtful whether any American director would have dared to give us such a scathing character study, coupled with the fact that it sometimes requires an outsider to reveal the undersurface of American society.
The film takes a while to establish the unsavoury characters and the unforgiving world in which they operate but gradually gains momentum and builds to a devastating final confrontation.
In terms of performances this probably represents the best of Annette Bening, John Cusack and Angelica Huston as the unholy trinity of Myra, Roy and Lily. Bening here gives a nod to Gloria Grahame but without the latter's 'heart' whilst the Oedipal tension between Cusack and Huston is palpable. Huston was by all accounts not first choice for the role but her portrayal is simply astonishing. There are also excellent supporting turns by J. T. Walsh and veterans Henry Jones and Pat Hingle.
Sun-drenched cinematography is by Oliver Stapleton and Elmer Bernstein provides an inspired score.
Stephen Frears once said that 'the only way to learn about films is by making them and by putting one's stamp on them.' This he has done in no uncertain terms and it is sad to contemplate that at the age of eighty-one, he is the only living English director who can truly be termed 'world class'.
Scorsese had long since seen the filmic potential of Thompson's novel but was engaged elsewhere so entrusted the film to Englishman Frears. This proved to be an inspired choice for it is doubtful whether any American director would have dared to give us such a scathing character study, coupled with the fact that it sometimes requires an outsider to reveal the undersurface of American society.
The film takes a while to establish the unsavoury characters and the unforgiving world in which they operate but gradually gains momentum and builds to a devastating final confrontation.
In terms of performances this probably represents the best of Annette Bening, John Cusack and Angelica Huston as the unholy trinity of Myra, Roy and Lily. Bening here gives a nod to Gloria Grahame but without the latter's 'heart' whilst the Oedipal tension between Cusack and Huston is palpable. Huston was by all accounts not first choice for the role but her portrayal is simply astonishing. There are also excellent supporting turns by J. T. Walsh and veterans Henry Jones and Pat Hingle.
Sun-drenched cinematography is by Oliver Stapleton and Elmer Bernstein provides an inspired score.
Stephen Frears once said that 'the only way to learn about films is by making them and by putting one's stamp on them.' This he has done in no uncertain terms and it is sad to contemplate that at the age of eighty-one, he is the only living English director who can truly be termed 'world class'.