The 1980s was quite a
prolific decade for actor Kurt Russell. Sprinkled between the genre classics he
made with director John Carpenter, the actor tried his hand at a wide variety
of roles, from shifty used car salesman in the comedy Used Cars (1980) to a nuclear power plant worker in the docudrama Silkwood (1983) to a police detective in
the neo-noir Tequila Sunrise (1988).
Often forgotten during this busy decade is a nifty little thriller called The Mean Season (1985). Based on the
bestselling 1982 novel In the Heat of the
Summer by John Katzenbach, this well-executed film acts as the cinematic
equivalent of an engrossing page turner.
Set in Miami during the hot,
late summer months, the film opens with an urgent brassy score by the great
Lalo Schifrin that plays over shots of stormy skies juxtaposed with the busy
printing presses of the Miami Journal,
foreshadowing how both will play a prominent role later on. Malcolm Anderson
(Kurt Russell) is a veteran crime reporter that has just come back from hiatus/job
hunting in Colorado. He’s burnt out, lacking both ambition and drive. He wants
a change of pace and threatens to quite… again. But before he can bring it up,
Bill Nolan (Richard Masur), his editor, assigns him to cover the murder of a
young woman that has been shot in the head.
The crime scene sequence speaks
volumes about Malcolm’s character. He’s covered the beat long enough to be on
friendly terms with homicide detective Ray Martinez (Andy Garcia) but not his
partner Phil Wilson (Richard Bradford). He also knows how to get the guy who
found the body to open up and talk then has the decency not to use the man’s
name in the article. Malcolm is also tactful and understanding with the mother
of the murder victim, listening to the woman’s reminisces about her child while
still getting what he needs for the article. This is in contrast to Andy Porter
(Joe Pantoliano), the crime photographer who shadows Malcolm on his assignments
and has no problem taking a picture of the grieving parent during a
particularly vulnerable moment. This scene is important because it establishes
that Malcolm is good at what he does and he is a decent person so we like and
identify with him.
Malcolm finally confronts
Bill about his desire to quit in a scene between veteran character actor
Richard Masur and Russell. Bill tells Malcolm, “You haven’t been at this long
enough to be as burned out as you like to think you are.” Malcolm feels like he’s
seen and done it all but still hasn’t found his Watergate yet – the dream of
all ambitious investigative reporters. Malcolm sums it up best when he tells
Bill, “I don’t want to see my name in the paper next to pictures of dead bodies
anymore.” The editor counters, “Now we’re not the manufacturer, we retail. News
gets made somewhere else, we just sell it.” It’s a nice scene that is
well-played by both actors as their characters touch on the nature of ethics in
reporting the news. How far are they willing to go to get a story that makes
their career? Malcolm is about to find out as he gets a phone call from the man
(Richard Jordan) that killed the teenage girl. He admires Malcolm’s writing and
wants the reporter to be his mouthpiece as he plans to kill again.
Bill is practically
salivating at the possibilities while Malcolm’s ambition kicks in as he
realizes that he’s found his Watergate. However, as the murders continue,
Malcolm finds himself getting more involved in the story until he’s as much a
part of it as the killer, which puts his life and that of his girlfriend
(Mariel Hemingway) in danger.
While the set-up and plot of
The Mean Season are nothing special –
the reporter who gets in way over his head – both are executed well enough that
you don’t mind and this is due in large part to the engaging performances of
the talented cast that do their best to sell the material. Kurt Russell
certainly comes across as a believable newsman. He’s got the lingo down and
seems to know his way around the newsroom and the beat that Malcolm covers. The
actor does a nice job of conveying his character’s transition from someone
reporting on the news to the one making it. He also manages to get a chance to
show off some of his action chops in an exciting bit where Malcolm races across
town to find his girlfriend before the killer does. His frantic, desperate race
is intense because the actor knows how to sell it, running full tilt over
several blocks like a man possessed, and because we know more than he does. We
know just how much danger his girlfriend is in.
Mariel Hemingway is good in
the thankless girlfriend role. She and Russell have good chemistry together.
They make a nice couple together and her character ends up acting as the voice
of reason when Malcolm gets too involved. Hemingway does her best to avoid the
damsel in distress stereotype but it is pretty easy to figure out how it’s all
going to go down. She is part of a solid supporting cast that includes Andy
Garcia as the dedicated cop that cares and Richard Bradford (The Untouchables) as his older, more
experienced partner who thinks that Malcolm is a parasite. The aforementioned
Richard Masur (The Thing) is also
memorable as the opportunistic editor who just cares about selling papers. The
great William Smith (Darker than Amber)
has a memorable bit part as a pivotal witness that helps Malcolm and the cops
track down the killer. He has only one scene with a decent amount of
expositional dialogue to convey but he nails it.
Director Phillip Borsos (The Grey Fox) also does a nice job
orchestrating the cat and mouse game between Malcolm and the killer thanks to
the smartly written screenplay by Leon Piedmont. They manage to hit all the
right notes and fulfill all the right conventions of the thriller genre – the
grudgingly helpful cops, the ambitious reporter, the sociopathic killer, and so
on – and stir it all up. Borsos employs no-nonsense direction like a seasoned
studio pro, which lets the actors do their thing. I also like how he conveys a
sense of place with the sweaty, summer weather, coupled with the impending
hurricane that is almost tangible. It all comes to a head at the exciting and
atmospheric climax when Malcolm confronts the killer in the Everglades.
John Katzenbach was a
veteran crime reporter who based his debut novel In the Heat of the Summer on years of experiences and that of his
colleagues. Producer David Foster, a journalism graduate, had been looking for
a good screenplay about reporters for years. He came across the manuscript for
Katzenbach’s novel and was impressed by it. He met with the author and they
talked about how to accurately convey the life of a newspaper reporter on film.
In April 1984, Borsos and
his crew arrived at the Miami Herald
offices to study a typical day in the newsroom and on that day Christopher
Bernard Wilder, suspected of kidnapping and murdering several young women, shot
himself as the police closed in. The resulting flurry of activity at the Herald helped Borsos create a realistic
newsroom atmosphere in his film. Katzenbach urged Kurt Russell to hang out with
his fellow reporters in preparation for the film. To that end, Russell and Joe
Pantoliano accompanied a reporter and a photographer from the newspaper to the
scene of a grisly double murder in North Miami. Much like in the film, the
actor found cameras were trained on him and later saw footage of himself on the
evening news. In addition, Richard Masur spent days and night son the Herald’s city desk.
Borsos’ previous film The Grey Fox (1982) did not make a
profit and so to pay off his debts he agreed to direct The Mean Season. Unfortunately, he had creative differences with
Foster over the tone of the film. According to Borsos, he wanted the film to
look “somewhat stylized and slightly unreal, more what you would call a 1950’s
film-noir type of picture.” In contrast, Foster wanted a more realistic-looking
film as Borsos said, “Mr. Foster’s vision was more of action-packed thriller
instead of a character-thriller.” It also didn’t help that the director
resented the producer’s constant presence on the set. The newsroom scenes were
actually shot at the Miami Herald
late at night with several staff members used as consultants and extras.
Russell and two fellow actors used three real newsroom desks that were
outfitted with authentic-looking notepads, books, dictionaries and computer
printouts. In addition, Katzenbach was frequently present during filming and
acted as a consultant.
When
The Mean Season was released it
received mixed reviews from critics. In her review for The New York Times, Janet Maslin felt that the film “has a brisk
pace and a lot of momentum. It also has a few more surprises than the material
needed, since Mr. Borsos, who for the most part works in a tense, streamlined
style, likes red herrings.” The Washington
Post’s Rita Kempley wrote, “Overall the film seems a little flat, a little
stale … Director Philip Borsos' style is too dogged to transform Mean
Season into a true thriller, though it serves well as a message
movie on what news is fit to print.” The Globe
and Mail’s Jay Scott felt that The
Mean Season was two films in one: “Still, the two halves add up to a
slickly effective and sometimes thought-provoking whole, a mystery that isn't
quite Klute and that certainly isn't Witness, but that is swifter than
nine-tenths of the contestants in the sparsely run race to entertain adults
without insulting them.” Newsweek’s
Jack Kroll wrote, “This movie has the weather of Body Heat, the moral stance of Absence of Malice and the perverse
plot-angle of Tightrope. It's also
not as good as any of these.” In his review for the Los Angeles Times, Kevin Thomas praised Russell’s performance: “The Mean Season depicts with conviction
and economy how Russell is transformed by covering the serial killings.
Russell, in turn, excels in retaining our sympathy as he becomes caught up in
his assignment.”
The Mean Season is an entertaining film that falters a little bit at the end with a
clichéd “twist” that sees Malcolm suddenly transform into an action hero but
Russell does his best to make it work. At times, it feels like there are two
kinds of films competing – the character-driven thriller that Borsos wanted to
make and the action-packed thrill machine that Foster envisioned. The result is
a sometimes uneven effort. Not every film has to try and reinvent the wheel by
offering some novel take on the genre. There’s something to be said for a
thriller that has nothing more on its mind then to entertain and tell a good
story and that’s something The Mean
Season delivers on both counts.
SOURCES
Gross, Jane. “An Actor
Explores the Fourth Estate.” The New York Times. February 10, 1985.
Johnson, Brian D. “An Eye
for Magic Realism.” Maclean’s. February 25, 1985.
Maslin, Janet. “At the
Movies.” The New York Times. February 1, 1985.
You did this gem justice, J.D. It's under appreciated and Kurt Russell, as usual, stands out. It was a hell of a decade for him, wasn't it?
ReplyDeleteWhen I first saw this, it was after there had been a string of movies with a very similar plot and often exact same scenes, like the finale - Unlawful Entry in particular sticks in the memory - and this had rendered Borsos' film already cliched and tired, whereas it was just formulaic when it first came out, and frankly it just doesn't have the substance of a real psychological thriller: it was just a first draft of the endless obsession with home invaders and serial killers that would follow in '90s cinema. Still, Borsos' grip on atmosphere and performance, which were evident from The Grey Fox, does buoy this a bit. But I feel it should've been so much more, given the setting and the set-up.
ReplyDeleteGreat review and great choice of film! I always forget what an enjoyable actor Russell can be as I haven't seen him in much lately. He was on a roll for awhile there!
ReplyDeleteSomehow I'd never seen this one. Just stuck it in my Netflix instant, thanks to your comprehensive review. Had no idea that it was packed with favorite character actors (Masur, Pantoliano, Jordan, Smith) and it seems like just the sort of thing I'd enjoy. Thanks for bringing it to my attention!
ReplyDeletele0pard13:
ReplyDeleteThanks, my friend! Indeed, the '80s were very good to Russell. He had a terrific run of films to be sure.
Roderick Heath:
I agree that this film is certainly riddled with generic elements but I think that Russell anchors it all rather nicely. There are also some really strong performances from the likes of Richard Jordan, Richard Masur and even Andy Garcia! Go figure. I also agree with you on Borsos capacity to convey atmosphere. You really get a sense of place from this film, which is quite important. At times, the setting is almost a character unto itself.
Brent Allard:
I think Russell did another sports film recently but it didn't get very good distribution. I really hope he does something new soon. Thanks for the comments.
Sean Gill:
Yeah, I think you will dig this film in a big way. Fantastic cast of character actors and Russell is in fine form. You'll have to let me know what you think of it!