Based on George V. Higgins’
1974 crime novel Cogan’s Trade, Killing Them Softly (2012) is a protest
film masquerading as a crime movie. It’s an angry howl of discontent presented under
the auspices of a Quentin Tarantino-esque tale of tough guys with guns only
with much more depth and even more talking (if that’s possible). Despite
receiving a warm reception at the Cannes Film Festival, Andrew Dominik’s film
failed to make back its $15 million budget in North America and had to rely on
international grosses to turn a profit. Clearly mainstream movie-going
audiences were not interested in seeing an overtly talky crime film starring
Brad Pitt. This is a shame because Killing
Them Softly, while a bit heavy-handed in some spots, is quite brilliant.
The set-up is a simple one.
Frankie (Scoot McNairy) and Russell (Ben Mendelsohn), two small-time criminals,
are hired to knock over a poker game run by Markie Trattman (Ray Liotta). The
take is estimated to be the neighborhood of $40 – 50,000 and they can pin the
blame on Markie as he knocked over the previous game. So, they figure he’ll
take the blame again, get whacked and no one will be the wiser. The mob brings in
Jackie Cogan (Brad Pitt), a fixer cum hitman that meets with his contact
(Richard Jenkins) and is hired to find out who robbed the poker game and
eliminate them. Jackie does indeed find out and brings in “New York Mickey”
(James Gandolfini) to help him kill those responsible. This is all set against
the backdrop of the American financial crisis and the presidential election
campaign in 2008.
Frankie and Russell are real
pieces of work. Frankie is an amicable sort of fellow and definitely the
smarter of the two, but he’s young and inexperienced. Russell is a mouthy
Australian who looks like a homeless junkie, but says he has some scam going
involving stealing purebred dogs for money in order to get enough cash to move
into drug dealing. Ben Mendelsohn seems to be channeling Dustin Hoffman’s Ratso
Rizzo from Midnight Cowboy (1969)
with a sweaty, disheveled look and chatty, foul-mouthed demeanor that has more
than a whiff of desperation. The conversation between him and Frankie in a car
en route to the robbery is Tarantino-esque in the sense that these guys are
talking about inconsequential things, but it does inform their characters. They
banter and bicker and are slightly inept, like how Russell brings rubber
dishwashing gloves to the robbery, which is an amusing detail.
The actual robbery scene is
thick with tension as we wonder if these two lunkheads are going to actually
pull it off. Ray Liotta plays this scene so well as Markie calmly tries to
convince Russell not to go through with deed. It’s heartbreaking to see a
certain sense of resignation play over Markie’s face as he knows that he’s
going to get blamed for the robbery. As a result you feel kind of bad for him
as he’s not to blame, but will be because of his previous mistake.
The initial scene between
Jackie and his contact is beautifully written and acted as we see the former
cut through all the bullshit and find what the Mafia really wants him to do.
Jackie is a logical, oddly compassionate, guy. Through the course of the
conversation he’s told that the Mafia is no longer run by one guy, but by a
committee with “total corporate mentality.” Again, the corporatization of
America rears its ugly head as Dominik hammers the point home of the diluting
of the Mafia, which is gradually destroying it, much to Jackie’s chagrin –
definitely an old school kind of guy.
In all the conversations
between Jackie and his contact, Pitt gets to deliver beautifully written
monologues full of anger and humor. In the second one, Jackie explains his
method of killing. To avoid having to deal with the messy emotions of victims
pleading for their lives, he prefers to kill them from a distance or, as he
puts it, “kill them softly.” In recent years, Pitt has gotten more comfortable
in his own skin, with getting older and doing character roles like this one. He
has also gotten better as an actor. He’s less mannered or, rather better at
knowing when to be as he is able to slip into a role with more skill. Pitt
looks more at ease immersed in a character, which comes from experience.
It is also fantastic to see
Pitt sharing two scenes with the caliber of someone like James Gandolfini who
plays Mickey as a cranky alcoholic capable of chugging a tall glass of beer
like its water. He’s a bitter mess of a human being, lost in his own personal
problems. The scene where Mickey and Jackie meet at a bar and talk about
trivial things (in the sense that they don’t have anything to do with the main
plot), like the former potentially going to prison for getting caught with a
shotgun, is wonderful as we get to see two veteran actors share a scene
together playing seasoned pros. Mickey talks about his disintegrating marriage
while Jackie frets over the big man’s excessive drinking and wondering if he’ll
be able to do his part. Gandolfini is playing a clearly unhappy man and this
scene provides fascinating insight into Mickey’s sad life, which the actor
conveys brilliantly here and even more so in another scene in a vanity-free
performance.
Killing Them Softly came out of the anger Australian director
Andrew Dominik felt about “how the whole world revolves around the dollar,” and
seeing The Friends of Eddie Coyle
(1973) on television. He was struck by how authentic a crime film it seemed and
found out that it was based on a book written by George V. Higgins. He started
reading the other man’s novels and one in particular, Cogan’s Trade, felt like it would make a good film. The economic
crisis of 2008 was fresh in the director’s mind when he began adapting the
novel. He realized that its story featured “an economic crisis in an economy that
was funded by gambling – and the crisis occurred due to a failure in
regulation.” Dominik used the crime genre to comment on the economic crisis
because he felt that these kinds of films were “about capitalism, because it’s
the one genre where it’s perfectly acceptable for all the characters to be
motivated by desire for money only.”
He originally pitched the
film to some financiers and was able to get it green-lighted. He sent Brad Pitt
a copy of the book, but didn’t hear back from him because he was busy making Moneyball (2011). So, Dominik pursued
another actor for the role, but reached out again to Pitt and made sure he
wasn’t interested. The actor was and they hashed out a deal and found a window
of opportunity in his busy schedule before the screenplay had even been written.
The director was surprised that Pitt wanted to play the character of Jackie
Cogan because, at the time, the actor had expressed an interest in playing the
completely opposite kind of people.
The source material was very
dialogue-heavy as was the eventual script. Dominik ended up looking at a lot of
screwball comedies from the 1940s and they influenced the simple approach he
took towards the dialogue scenes: “Just have the shot and let the actor do all
the work.” The director was also influenced by the Albert and David Maysles
documentary Salesman (1969), drawn to
its grim tone and Midwest during the winter setting. As a result, the desolate
landscape in the opening scene was Dominik’s idea of “America as Chernobyl.”
Ultimately, he felt that the film’s message came down to “pointing its finger
at the lie with which America was constructed – this idea that we’re all equal.
Which clearly nobody believes.”
Killing Them Softly received mixed to negative reviews from
mainstream critics. Roger Ebert gave the film two out of four stars and wrote, “It all seems as if I’ve been seeing
versions of this story since forever … All Killing
Them Softly takes from the limitless universe of film noir is the night and
the city.” Time magazine’s Richard
Corliss wrote, “At times you might swear you’re looking at the film’s outtake
reel, or a rehearsal video of infertile improvs. Despite enough pummeling to
flatten Rocky Balboa in all six movies, the only thing that truly rewards your
attendance is Pitt in another effortless star performance.” In his review for The New York Times, A.O. Scott felt that
the film took place “entirely in a universe of tropes and archetypes, which is
a polite way of saying clichés and pretensions.”
The Washington Post gave the film two out of
our four stars and Ann Hornaday wrote, “Hope and change come in for their share
of body blows in Killing Them Softly,
but the film’s own jaundiced amorality ultimately feels just as devoid of
meaning or genuine edge.” USA Today gave
the film three out of four stars and wrote, “There’s nothing touchy-feely about
Killing Them Softly, a stylish
thriller worth seeing – despite its relentless violence – for its sharp
dialogue, mesmerizing photography and gritty performances.” In her review for
the Los Angeles Times, Betsy Sharkey
wrote, “In all the gritty confusion of the film, Pitt’s Jackie is the constant
voice of reason. While his last big at-bat, Moneyball,
was a far better movie, there is an effortlessness here in the way Pitt turns
small scenes into defining moments.” Finally, Entertainment Weekly’s Owen Gleiberman wrote, “Killing Them Softly is a blistering, at times, hypnotic minor movie
that wraps itself in an importance it never earns. But there’s no doubt that it
has made me an Andrew Dominik believer.”
Dominik makes a point of
showing how hard hit economically the town where the story takes place is with
the opening scene between Frankie and Russell, which occurs on the street in a
run-down area populated by dilapidated and abandoned homes overrun with wild
grass. It’s an image that contradicts Barack Obama’s message of hope that can
be heard sampled at the beginning of the film. The then-presidential hopeful
speaks optimistically of what he hopes America will become while Dominik shows
us how it is. Throughout the film, we hear soundbites from Obama and
then-President George Bush, who can be seen speaking on television about the
economy in the background during the robbery scene. Dominik is more interested
in what his characters do and say in between shoot-outs and beat-downs, and how
what they do has been affected by the economic collapse.
Jackie is Dominik’s angry
voice as the hitman rails against ineffectual bosses that don’t know what
they’re doing and take too long making decisions. He keeps his finger on the
pulse of what’s going on in the streets while his employers are clearly out of
touch. The bottom line is that Jackie is a professional who is good at what he
does and expects to get paid well for it. This is best summed up at the end of Killing Them Softly when his employers
try to short-change him for what he’s owed because of “recession prices.” An
understandably upset Jackie lays it all out for the flunky when he tells him,
“I’m livin’ in America and in America you’re on your own. America is not a
country. It’s a business. Now fuckin’ pay me.” Cut to black and cue “Money (That’s What I Want)” by Barrett Strong, which is a wonderful cheeky way to end
the film. I’m sure people were not expecting a talky gangster film, but that’s
what they got as Dominik delivered a brilliant, angry blast at what he
perceived is wrong with the state of America.
SOURCES
Digiacomo, Frank. “Killing Them Softly Director Andrew
Dominik Discusses His American Horror Story.” Movieline. November 28,
2012.
Douglas, Edward. “Interview: Killing Them Softly Director Andrew
Dominik.” Coming Soon. November 29, 2012.
Taylor, Drew. “Andrew Dominik
Talks the Anger of Killing Them Softly,
Downplays the ‘Mythical’ Long Version of Jesse
James.” The Playlist. November 27, 2012.
Weston, Hillary. “Getting
Down to Business with Killing Them Softly
Director Andrew Dominik.” Black Book. November 30, 2012.
Wright, Bernard. “Killing Them Softly Helmer Andrew
Dominik Talks Music as Film.” The Playlist. May 23, 2012.
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