Starring:
Robert DeNiro, Wesley Snipes, Ellen Barkin Directed by: Tony
Scott Written by: Phoef Sutton Rated R
Tony
Scott's "The Fan" is one of the most terrifying films I've
seen in quite some time. It's told from the perspectives of
two individuals most audience members won't relate to, yet
somehow manages to allow us to feel what they feel and experience
what they experience. It studies the behavior of it's characters
so closely and allows that element to dictate the story. About
halfway through "The Fan", I almost forgot I was watching
a movie and felt I was watching true life unfold in horrifying
fashion.
Alfred
Hitchcock used to say: "I enjoy playing the audience like
a piano." He did, and was incredibly good at it. However,
one of the problems I have with many thrillers these days
is that the filmmakers try too hard to imitate him, or rely
too heavily on fancy camera tricks and gimmicks to get a cheap
thrill from the audience. "The Fan" takes a scary situation
and simply observes it with a keen eye. Director Tony ("Crimson
Tide") Scott uses numerous close-ups to place the audience
smack dab in the middle of the suspense, yet those close-ups
never seem to get in the way of the story. The end result
is a film with a horrific aura that engulfs the audience from
every angle, underscored by a Robert DeNiro performance that
is subtle enough to creep right into our darkest fears, then
unleashes its fury on our conscious mind in the film's final
act.
Gil
Renard (Robert DeNiro) is a true baseball fan. As the movie
opens, we see old baseball clips light up the screen as we
hear Renard's voice talking about how the fans make the game.
Baseball is his life. He was a very good player in Little
League and has been an avid fan ever since. So much so that
he doesn't put his complete effort into his job as a knife
salesman. He knows his job is important, but baseball is his
passion. Gil is the type of person who places more emphasis
on his passion than what is really more important. In one
of the movie's most revealing moments, Gil takes off work
to take his son to opening day, then has the audacity to leave
him there while he goes to catch a very important business
meeting.
Bobby
Rayburn (Wesley Snipes) is a professional baseball icon who
has just signed a forty million dollar deal with the San Francisco
Giants. He is the type of person who at one time was a true
lover of the game, but who seems to have been side-tracked
by the money, the women, and the media attention. At the beginning
of the film, these two men are brought together through a
sports radio talk show hosted by Jewel Stern (Ellen Barkin).
These types of radio shows are becoming quite popular, allowing
fans to get "up close and personal" with their sports heroes.
The conversation the two men have in this scene is friendly,
yet there is a very unsettling quality here. Professional
baseball is not the same as Little League baseball, yet I
sometimes get the feeling that many fans think of the two
in a similar vane. When I listen to radio call-in shows like
the one depicted in the movie, the fans who call in seem to
have a certain patronizing quality in what they say. They
sometimes don't sound like fans talking about their "heroes"
as much as like fathers who are talking about their "sons".
Thus, the passions of the fans have a tendency to escalate
to ominously overshadowing proportions. With the stakes continuously
on the rise in professional sports, maybe fans shouldn't have
such easy access to the players.
Ultimately,
the paths of these two men will cross, but the film never
feels forced. Renard isn't a raving lunatic, but rather a
man with an unbridled passion for the game, coupled with a
narrow-minded focus on what he feels is right and wrong. The
most frightening scenes in the movie aren't between DeNiro
and Snipes, but rather between Renard and his family. (There
is a scene at his son's Little League tryout which is quite
unsettling.) Bobby Rayburn is a man who at first I had somewhat
mixed feelings about. I always tend to have mixed feelings
about people who make upward of forty million dollars and
thrive on life in the public eye. However, the movie does
an excellent job of showing the difficulties someone like
him would have to face. During a slump, he steps out onto
the field to take his turn at bat, turns and sees numerous
signs with hateful messages on them scattered throughout the
crowd. It's scary, when you think about the time it takes
to sit down and create those signs and banners, then see the
words of hate painted on them. Just how serious are those
feelings of anger and disgust housed by the many thousands
of spectators?
DeNiro
gives another fabulous performance here, although some may
look upon it as "just another psycho" role. That is definitely
not the case. In some ways, it's similar to the abusive father
role he played in "This Boy's Life". He's both scary and pathetic
at the same time. Gil Renard is a man departing from reality.
Even the ending, which may seem over-the-top, works because
it symbolizes the crescendo of that very departure. Wesley
Snipes is also good, although probably won't get much recognition
for his work. Sports celebrities are often viewed as larger-than-life,
yet Snipes resists the temptation to be anything more than
a simple human being caught in a scary situation. Usually,
the hero is a simple man in the beginning who becomes a hero
by the end. Here, it's more the opposite, and Snipes plays
it well.
Tony
Scott is a director who has clearly hit his stride. After
flailing around with flashy but mediocre films ("Beverly Hills
Cop II", "The Last Boy Scout", among others) he finally hit
the mark with the terrific submarine thriller "Crimson Tide".
He outdoes himself here, creating without a doubt his finest
film. What makes him such a solid director is that he understands
the medium of film so very well. He knows what will work and
what won't, and thus, can get the most out of the story he
is telling. He uses close-ups and quick edits from time to
time, but doesn't go overboard. He's smart enough to let Phoef
Sutton's script and DeNiro's and Snipes' performances tell
the story; his camera effects and editing techniques simply
enhance it.
I
have a feeling that many people will look at the previews
for this movie and assume it's just a conventional thriller
that they've seen so many times before. Actually, there is
nothing conventional about it. The story unfolds rather than
forces itself. It's a thriller that works from the inside-out.
The terror doesn't show itself immediately, but rather slithers
it's way into the mind, then grasps on to our fears and twists
them every which way. It's not a pleasant film, but good suspense
thrillers never are - they just work. "The Fan" works. It's
one of the most frightening films of the year - and one of
the best.
Copyright
2001 Michael Brendan McLarney Critically
Ill
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