Miller's Crossing (1990)

(207th - 7.8 - 4-OK)

OK, this one came as something of a surprise to me. I've been a Coen brothers fan ever since I was knocked out by Oh Brother, Where Art Thou? a few years ago and every succeeding film of theirs that I see merely adds to my respect for them. This respect is enhanced even more by the common suggestion that I haven't yet seen their best. Apparently their masterpiece is Fargo, which is the highest placed Coen brothers film on this list as well as being the most recent entry in the American Film Institute's Top 100 American Movies. I'm looking forward to it more than almost any other film that I'll get to see as part of this project.

It's followed on this list by Miller's Crossing. Unfortunately I was just as disappointed by it as I was enthralled by The Big Lebowski, The Hudsucker Proxy, Intolerable Cruelty and especially Oh Brother, Where Art Thou? All four of those films contain all the components that have become Coen trademarks: razor sharp scripts, beautifully tangled plots, inventive cinematography, a fast pace driven along by a dynamic major character and an astute wit. All these characteristics are tied together by a unique sense of style that varied with each film, depending on where the influences for it originated, but that consistently enhanced the Coens' reputation.

In comparison, Miller's Crossing hasn't much beyond the tangled plot, which starts out slowly and confusing but kicks in wonderfully about halfway through. However, the cinematographic tricks are mostly replaced by alternating static shots of people talking; the script doesn't contain much at all in the way of humour; and finally, the dynamic major character, so ably portrayed elsewhere by George Clooney, Paul Newman or John Goodman, is replaced here by Gabriel Byrne who seems to be sleepwalking through the entire movie. That worked for a befuddled role like that of Jeff Goldblum in Into the Night, but it doesn't work in a gangster flick. That sound you hear in place of the usual sparkling Coen Brothers soundtrack is James Cagney and Edward G Robinson turning over in their graves.

Byrne plays Tom Reagan, the right hand man of Leo, the gangster who runs whatever unknown city Miller's Crossing is set in. These two fall out, as they both love the same girl, called Verna, and so Reagan defects to the enemy camp run by an up and coming gangster called Johnny Caspar. As this is happening, arguments over Verna's brother, a fixer called Bernie Bernbaum, cause these two sides to kick off a gang war. Reagan takes advantage by playing both sides against the middle.

Don't get me wrong, I enjoyed Miller's Crossing but I'm amazed at its inclusion here when far worthier films from the same directors or starring the same actors didn't make the list. I don't understand the choice at all, especially as many of the reviews at IMDb are both heartfelt and erudite. This isn't a fanboy thing, which is the only reason something like X2 can find a (temporary) place here on the Top 250; these are real film fans who really appreciate this movie. I just have no clue why. I get the impression that this is an early entry on the learning curve, where the Coen brothers honed the skills they needed to make the later classics that I've already seen. Once I get to see other early Coens like Barton Fink and Blood Simple and Raising Arizona I'll discover whether that's entirely true or not, but right now Miller's Crossing just stands as by far the weakest of the lot that I've seen yet.

From the very beginning the film seems very wooden, with that static camera merely switching back and forth between two people talking to each other. Occasionally this tactic works well, as a diversionary tactic but mostly it makes the whole film feel empty, while every other Coen brothers film I've seen seems full. Only a couple of scenes stand out. The attempt on Leo's life carries some decent cinematography and the execution in the woods, the Miller's Crossing of the title, carries some great tension, but these are mere blips.

The cast are top notch but they don't seem to be trying, most obviously Gabriel Byrne who has certainly proved his worth before elsewhere. Albert Finney plays Leo, and while he is always crusty and solid and tough, his part fades in comparison to his stunning performance in Big Fish. Bernie Bernbaum, who proves to be the main catalyst for most of the plot, is Coen regular John Turturro and he's good here but again not as good as elsewhere. He was superb in Oh Brother, Where Art Thou? and my favourite of his roles is probably the one he gave in the otherwise disappointing Secret Window, in what may be the nearest Johnny Depp has ever come to being out-acted.

On the flipside I recognise Jon Polito's face if not his name, and he is the closest thing to dynamic that any of these actors give. There's also a small role for Steve Buscemi who, as far as I'm aware, has never given a bad showing. My favourite of his so far is the quirky Ghost World, but he's versatile enough to go from Airheads to Reservoir Dogs to his directorial debut in Trees Lounge. I'm just sad that he didn't get a better film to appear in here. Miller's Crossing is almost the dictionary definition of 'just OK'.