British `Croupier' is a sure bet
By MATT NANIA
Scene Movie Editor
One can't learn much about director Mike Hodges from reading his resume. His debut, "Get Carter" (1971), is considered a gangster-thriller cult classic (the Sylvester Stallone remake was mediocre at best), and since then his choices have been curious, to put it politely. He has directed the campy "Flash Gordon" (1980), numerous TV movies and an odd collection of titles including "A Prayer for the Dying" and "Morons from Outer Space." One wonders what "Get Carter" fans thought when Hodges wrote the script for "Damien: Omen II."
As Hodges approaches his 70s, though, there's finally a new ace up his sleeve: "Croupier," a sharp, perplexing character study that may gain its own cult status. Based on Paul Mayersberg's script and made two years ago in the UK, "Croupier" is a hip noir redux, full of shady and shadowy characters, gambling scams, duplicity and mysterious plot twists.
The croupier of the title is Jack Manfred (Clive Owen), a thirty-ish wannabe novelist with addiction in his enigmatic past, as we learn from his deadpan voiceover. When his pushy father gets him a job as a croupier (or dealer) in a UK casino, he returns to the smoky, mirrored atmosphere of his weakness. Was he a gambler? A scam artist? Why did he quit? Hodges and Mayersberg keep Jack and his details at arm's length, creating an engaging mood of edginess and mystery.
Once Jack throws the tuxedo on and returns to the pit, "Croupier" unfolds a full hand of supporting characters, fleshed out just enough to drive storylines while creating ample puzzlement. There's the cheating co-worker who runs with a hard drinking, womanizing crowd; the sluttish femme fatale; and the beautiful South African gambler with big cash (Alex Kingston from "ER"). Add in the requisite cheats and tantalizing, seemingly throwaway bits of dialogue, and you've got a vague mystery framed within an intriguing look at small-time casino gambling.
The details of the casino alone are exciting and enlightening. The filmmakers pare down the polish and glitz of Martin Scorsese's "Casino," providing a bare bones look at real particulars. Forget the "eye in the sky" and the location of the pit boss, Hodges shows us the blackjack deal, the art of stacking chips and the ability to size up players around the table.
The incisive script begins this analysis during Jack's job interview, with his voiceover illuminating not just his knowledge and skills, but his ability to survey the boss, whom he's figured out instantly. Owen's voiceover has even more panache and insight than De Niro's readings in "Casino."
In fact, Owen is perfect casting as Jack. His slight, confident look is an odd cross between Michael Stipe and Nicolas Cage, with a neat show of quiet distrust. Although Jack is obviously brilliant, and craves being a popular novelist, Owen plays him more as an existentialist. He keeps his emotions tight, even when upset, reacting to his life's twists with a dose of matter-of-fact attitude true to the film noir protagonists to which the script pays homage. Indeed, Owen's performance is smooth enough to warrant the rumors that he is being considered to take over the Bond mantle.
Gina McKee is also solid as his mixed-up girlfriend, frustrated over his new line of business, and Alex Kingston makes her cryptic character engaging, even if her work on the mucho-popular television series is actually a little better.
"Croupier" is at its best when Hodges treats the typical scene with an unconventional approach. When an apparent heist takes place at the casino, there are few Hollywood-style close-ups and no urgent cutting to telegraph the suspense; the action just sort of happens. There's an odd wide shot, a single quick cut, and the viewer wonders what they just witnessed.
What happened was Mike Hodges crafted yet another sequence that completely contributes to the alluring, complex style of "Croupier," a film that is a sure bet to spiff up that resumé.
--Video Pick of the Week
All Scene Stories for Monday, March 19, 2001
