Here’s a global film in the form of a Brooklyn-set crime story. The script is by Dennis Lehane, who has expanded his own short story, and one of the four leads is James Gandolfini. The other three comprise a Brit, a Swede and a Belgian and the film is directed by another Belgian, Michaël R. Roskam. We are back in the territory of the Europeans taking on the American crime film. The fact that the story is American distinguishes The Drop from Guillaume Canet’s Blood Ties but it still might be useful to think about the two films together as they both seem to channel the 1970s New York crime films of Sidney Lumet et al. Matthias Schoenaerts also appears in both films and here is reunited with the director (plus Nicolas Karakatsanis the cinematographer and music composer Raf Keunen) of Bullhead (Belgium 2011) which I really should put on the ‘to watch’ list.
Most audiences will go to see this film thinking it will be an American crime story dominated by Gandolfini and Lehane’s script. I suspect that many will end up feeling that the film belongs to Tom Hardy in another stunning performance. Hardy disappears into roles so much and so effectively that he’s hardly recognisable from one film to another. Here he is Bob Saginowski, the seemingly long-suffering bartender of a Brooklyn joint known as ‘Cousin Marv’s Bar’. It’s Bob’s voiceover at the beginning of the film that tells us that this is one of the bars used by organised crime gangs as a collection point for laundered money. Marv is played by James Gandolfini and in reality he doesn’t own the bar which is now one of the fronts for a gang of Chechen criminals. Marv is on the way out and it’s a fitting role for James Gandolfini whose last film appearance it turned out to be. When the bar is robbed and the Chechens demand their money back, Marv and Bob have to find it. The triangle between Marv, Bob and the Chechens is a familiar trope of the crime film and Lehane’s story here simply supplies the framework for the more interesting triangle (rectangle?) involving Bob and the pitbull puppy that he finds badly injured in a garbage bin. The bin belongs to the waitress Nadia (Noomi Rapace) who helps Bob care for the dog. It takes a while before we realise that the dog was probably put there by the disturbing Eric (Matthias Schoenaerts) who seems to be unusually interested in how the couple’s relationship develops. Lehane’s original story was ‘Animal Rescue’.
In one sense the film is like a genre exercise in constructing a film narrative. I don’t think it is too much of a spoiler to note that Lehane reveals the link between the separate elements via a line delivered by the local police detective who notices that Bob attends mass every week but never takes communion. “They never see you coming” he suggests to Bob at one point. And indeed Bob appears to be perhaps mildly autistic – giving the impression that he is a slow, dependable worker, speaking carefully, working methodically and always holding himself in check. Does he really find social interaction to be arduous – or is his self-restraint a cover?
In terms of how this all works out and what it means as a film narrative I have to largely agree with the Sight and Sound review by Matthew Taylor. Like Taylor, I think that all the constituent parts of the film work well. The performances are all good – though Noomi Rapace is under-used – and individual scenes and sequences are efficiently and economically presented. My feeling is that the script is the weakness in not giving us a compelling crime story to match the melodrama of emotional relationships. I’ve seen reviews that dismiss the film completely as too inert. I wouldn’t go that far but another reviewer who suggested that the film’s ending was more like the beginning of another more interesting story does make an interesting point. So, perhaps it’s back to those 70s movies – a Bob Rafelson film? I would have liked to see much more of Bob and Nadia and how they get on together. Overall though I did enjoy watching the film.
I’m not sure how Keith will get on with the film but I am sure he’ll like the dog – named after Saint Rocco, the patron saint of dogs. The church of Saint Rocco is about to be closed down and sold to a property developer. The appearance of the statue of Saint Rocco is also a reference to the feast day parade in Godfather II when a statue of the saint is carried through the streets of Little Italy.
Wikipedia suggests a budget of $13.5 million – low for Hollywood but high for a European film. There appear to be several companies involved in a co-production which I’ve classified as ‘independent’.