ONE FALSE MOVE: the inevitable confrontation with America’s original sin

Cynda Williams and Billy Bob Thornton in ONE FALSE MOVE

The gripping contemporary neo-noir One False Move begins with a home invasion in Los Angeles. Two vicious professional robbers, with one’s beautiful girlfriend, steal money and cocaine, leaving a trail of corpses. The crime is solved right away – the cops know who did it and that the murderers are headed to a small town in Arkansas. The LA cops fly to Arkansas and lay in wait with the local constabulary. One False Move is a ticking time bomb as we wait for the criminals to drive across the Southwest to the inevitable confrontation.

This is a fundamentally noir story – there are guys overreaching for greed and ambition, a femme fatale, and a very dark secret. The screenplay was written by Billy Bob Thornton (before his breakthrough Sling Blade) and his writing partner Tom Epperson. One False Move was filmed in Cotton Plant, Arkansas, about two hours from where Thornton grew up, in and around Hot Springs.

The robbers are an odd couple that met in prison. Ray (Thornton) is white, an edgy, coke-fueled, brutal and not very smart gunsel, always on the verge of an epic misjudgement. Pluto (Michael Beach) is black, an ever-calculating crime machine – a cold, brilliant and bloodthirsty sociopath. They are accompanied by Ray’s beautiful black girlfriend Fantasia (Cynda Williams).

When the two seasoned LA homicide detectives (Jim Metzler and Earl Billings), arrive in Arkansas well ahead of the robbers, they encounter the local Sheriff, Dale “Hurricane” Dixon (Bill Paxton). Hurricane is overeager and over-enthusiastic, and his nickname obviously comes from his being an irrepressible force of nature. He’s comfortable as a big fish in a little pond, but now he fantasizes about being a big city cop. As he charges around thoughtlessly, he thinks that this is his big chance to be the kind of cop that he watches on TV.

This was Fantasia’s hometown, where she grew up with her given name of Lila. Dale and Lila share a significant past.

Cynda Williams in ONE FALSE MOVE

As a femme fatale, Fantasia/Lila can manipulate both Ray and Dale, although Pluto is immune to her charms. She is clearly a more decent person than Ray and Pluto, and she has one relatable vulnerability. but she does things and intends to do things that are very, very bad.

This was Cynda Williams’s second film role. She was married to Billy Bob Thornton for two years, including during the making of One False Move. She has worked consistently since (playing Halle Berry’s sister in two movies), but One False Move has certainly been her best-remembered performance.

Bill Paxton in ONE FALSE MOVE

Bill Paxton left a great body of work that included starring in the topflight episodic series Big Love and a key role in Apollo 13. Big Love and One False Move demonstrate that he should have gotten more leading roles. Paxton’s Hurricane is always bubbling over, whether it’s with ambition, naivete or good ol’ boy chumminess.

One False Move was directed by Carl Franklin. who also directed the period neo-noir Devil in a Blue Dress. Franklin has directed lots of TV, including episodes of House of Cards and Mindhunters).

America’s original sin – race – is at the core of One False Move. The entire plot is predicated on something that happened when Lila was 17 – and neither that occurrence nor any of the following events would have happened if Lila were white.

Ray and Fantasia/Lila are an interracial couple, the two LA cops are white and black, and Dale unwittingly leaks his casual racism.

One False Move is on my list of Overlooked Neo-noir and can be streamed from Amazon, AppleTV, Vudu and YouTube.

2017 at the Movies: farewell to the icons

Turner Classic Movies host Robert Osborne
Turner Classic Movies host Robert Osborne

As important as are filmmakers, so are the great film popularizers. All movie fans owe a debt of gratitude to Robert Osborne, the longtime host of Turner Classic Movies. Osborne got his start in Hollywood as an actor, developed many personal friendships with icons of classic cinema and became one of the first popular movie historians. Here’s his NYT obit. Virtually all of his obits describe him as “a gentleman”, a throw-back to a less course culture. He didn’t shy way from referring to Hollywood scandals (Gloria Grahame, Mary Astor and the like) but did not take glee in them.

 

Jeanne Moreau in ELEVATOR TO THE GALLOWS

At the beginning of her career, Jeanne Moreau capped the best of French film noir as the gangster’s unreliable squeeze in Touchez pas au grisbi and sparked neo-noir with Elevator to the Gallows.  Then we Americans saw her as the face of the European art film with Malle’s Elevator and The Lovers, Antonioni’s La Notte, Truffaut’s Jules and Jim and Bunuel’s Diary of a Chambermaid – all between 1958 and 1964.  Her wide-ranging body of work included Orson Welles’ best Shakespeare movie Chimes at Midnight.  And, for a Guilty Pleasure, there’s the silly 1965 Mexican Revolution action comedy Viva Maria!

 

Harry Dean Stanton in PARIS, TEXAS

With exactly 200 screen credits on IMDb, Harry Dean Stanton was a prolific character actor who improbably became a leading man at age 58 with his masterpiece Paris, Texas.   Harry Dean often seemed like that uncle/neighbor/mentor who had Lived A Life but would let you inside and let you learn from his journey.  He was ever accessible and always piqued the audience’s curiosity about his characters.  Roger Ebert and Gene Siskel once posited that a movie could not be entirely bad if Harry Dean Stanton were in it.

2017 at the Movies: farewell to the actors

Bill Paxton in ONE FALSE MOVE
Bill Paxton in ONE FALSE MOVE

I first noticed the actor Bill Paxton as small town police chief Dale “Hurricane” Dixon in the 1992 indie neo-noir One False Move (a very underrated indie). In two more indelible and more widely remembered performances, he played the lead role of polygamist Bill Henrickson for the five seasons of HBO’s Big Love and astronaut Fred Haise in Apollo 13.

 

Mary Tyler Moore with Donald Sutherland in ORDINARY PEOPLE
Mary Tyler Moore with Donald Sutherland in ORDINARY PEOPLE

Mary Tyler Moore, of course, is a giant of television history because of The Dick Van Dyke Show, The Mary Tyler Moore Show and all the fine shows produced by her MTM Enterprises. And her Mary Richards instantly became a societal icon. If ever anyone doubts the genius of her comic timing, they can just watch the 4-minute Chuckles the Clown funeral from the Mary Tyler Moore Show (it’s on YouTube).

She made very few movies, but they are worth remembering. She was Oscar-nominated for her still, emotionally distant parent in Ordinary People – a performance that she later said that she had modeled on her own father. She was hilarious as Ben Stiller’s mom in Flirting With Disaster. And she was also Elvis Presley’s last movie leading lady in the unintentionally funny Change of Habit, in which she played a social worker nun (!) who had to choose between her religious order and the ghetto doctor (Elvis!).

 

Powers Boothe in GUYANA TRAGEDY: THE STORY OF JIM JONES
Powers Boothe in GUYANA TRAGEDY: THE STORY OF JIM JONES

I first noticed – and was captivated by – the actor Powers Boothe as the mad cult leader Jim Jones in Guyana Tragedy: The Story of Jim Jones; this is one of the best (and scariest) movie portrayals of a historical figure. That Emmy-winning performance launched his screen career and led to another delicious role – Cy Tolliver, the cold-eyed and evil rival to Ian McShane’s cold-eyed and evil Al Swearingen in Deadwood.

 

Martin Landau in NORTH BY NORTHWEST

Martin Landau had an acting career that spanned seven decades and resulted in 177 screen credits. His two finest performances came at age 61 and age 66 – the killer of an inconvenient mistress in Woody Allen’s Crimes and Misdemeanors and his Oscar winning turn as Bela Lugosi in Ed Wood. Landau’s most famous role came when he was only 31, as he chased Cary Grant across the faces of Mount Rushmore in Alfred Hitchcock’s North by Northwest.

The actress Dina Merrill made a career of playing high society matrons (as she was in real life). She was never better in one of my favorite films, Robert Altman’s The Wedding.

The actor Stephen Furst had 88 screen credits, but none more iconic than the role in his second feature film: Kent “Flounder” Dorfman in Animal House. “Fat, drunk and stupid is no way to go through life, son.”

I remember the versatile actress Glenne Headly for giving Steve Martin and Michael Caine more than they can handle in the hilarious con artist movie Dirty Rotten Scoundrels. Here’s her NYT obit. Dirty Rotten Scoundrels is available on DVD from Netflix and to stream from Amazon, iTunes and Vudu.

Michael Nyqvist co-starred with Noomi Rapace in the Swedish Girl with the Dragon Tattoo movies. He was also really good in last year’s overlooked indie neo-noir Frank & Lola.

Sam Shephard was America’s greatest living playwright for decades, and also made a mark as an actor with 68 screen credits. His most memorable role was as test pilot Chuck Yeager in The Right Stuff.

Danielle Darrieux, who at age 36 played the privileged and shallow countess in Max Ophuls’ The Earrings of Madame de…, died at age 100.

Emmanuelle Riva’s 89 screen credits are spread over the past SEVEN decades. She was a fixture of the French New Wave, beginning with Alain Resnais’ Hiroshima Mon Amour in 1959. We remember her Oscar-nominated performance in 2012’s heartbreaking Alzheimer’s drama Amour.

Emmanuelle Riva in ARMOUR
Emmanuelle Riva in AMOUR

 

The actor Frank Vincent gloried in mobster roles, playing characters like Johnny Big , Joey Big Ears, Tommy Tomatoes and Tommy ‘The Bull’ Vitagli. He is best known as Phil Leotardo in The Sopranos. His most memorable (and ill-fated) line was directed to Joe Pesci in Goodfellas: Go home and get your shine box….

Haruo Nakajima was the first actor to play Godzilla (before computers did that). Nakajima, who had been playing the minor bad guys dispatched by the hero in samurai movies, sweated profusely inside the rubber monster suit for twelve Godzilla films.

John Hurt (center) in THE HIT
John Hurt (center) in THE HIT

John Hurt’s magnificent career started in the 1960s, but I first noticed him in 1976 when he leaped out of the screen as the lethally mad Caligula when PBS broadcast the BBC miniseries I, Claudius. Hurt is probably most recognized (by my generation) for his Oscar-nominated performance as the title character in 1980’s The Elephant Man or as the first victim of the alien in Alien. But Hurt was always able to stay current with performances in popular films like V for Vendetta and Hellboy and he played Ollivander in the Harry Potter movies. He also recently made Tinker, Tailor, Soldier, Spy (2011) and Snowpiercer (2013), and was the best thing (as The Priest) in the awful film Jackie (2016). My own favorite John Hurt performance was as the more disciplined hit man in the 1984 British neo-noir The Hit.

John Hurt (left) with Derek Jacobi in I, CLAUDIUS
John Hurt (left) with Derek Jacobi in I, CLAUDIUS

John Hurt with Natalie Portman in JACKIE
John Hurt with Natalie Portman in JACKIE

DVD of the Week: Haywire

One of the first 2012 releases, Haywire is a rockem sockem spy action thriller by Steven Soderbergh, starring Gina Carano.  I was not familiar with Gina Carano, who is an accomplished star of mixed martial arts.  Haywire is a vehicle seeking to launch her as an action film star.  And why not, for she is attractive (with “real girl”, not Hollywood, looks), well-endowed and can kick ass?  She can, after all, kick ass for real, not just pretend to in a movie.

As an actor, Carano is plenty good enough.  She’s way better than Chuck Norris, Jackie Chan and the Rock, and is at least as good as Schwarzenegger.  And, when she beats up a swat team, it is believable (and fun).

Soderbergh is always interesting, as he moves between high brow/arty (sex lies and videotape, The Good German) and lowbrow/popular (Ocean’s Twelve, Contagion).  Here he takes an inexperienced leading woman and an unremarkable story and makes the most of it.  It’s a good watch.

Soderbergh delivers fast pacing and great locations (Barcelona, Dublin, New Mexico).  Soderbergh and Carano benefit from a top rate cast:  Michael Douglas, Ewan McGregor, Michael Fassbender, Antonio Banderas, Michael Angarano and Bill Paxton.  Overall, it’s good entertainment and, for once,  I’m actually looking forward to the sequels.

Haywire: an action star is born

One of the first 2012 releases, Haywire is a rockem sockem spy action thriller by Steven Soderbergh, starring Gina Carano.  I was not familiar with Gina Carano, who is an accomplished star of mixed martial arts.  Haywire is a vehicle seeking to launch her as an action film star.  And why not, for she is attractive (with “real girl”, not Hollywood, looks), well-endowed and can kick ass?  She can, after all, kick ass for real, not just pretend to in a movie.

As an actor, Carano is plenty good enough.  She’s way better than Chuck Norris, Jackie Chan and the Rock, and is at least as good as Schwarzenegger.  And, when she beats up a swat team, it is believable (and fun).

Soderbergh is always interesting, as he moves between high brow/arty (sex lies and videotape, The Good German) and lowbrow/popular (Ocean’s Twelve, Contagion).  Here he takes an inexperienced leading woman and an unremarkable story and makes the most of it.  It’s a good watch.

Soderbergh delivers fast pacing and great locations (Barcelona, Dublin, New Mexico).  Soderbergh and Carano benefit from a top rate cast:  Michael Douglas, Ewan McGregor, Michael Fassbender, Antonio Banderas, Michael Angarano and Bill Paxton.  Overall, it’s good entertainment and, for once,  I’m actually looking forward to the sequels.