"An evocative and powerful story of a gangster kingpin.”
After playing various lovable comic roles in a string of
fantasy films, Johnny Depp is finally back to serious business. In Scott Cooper’s Black Mass, a gangster
biopic based on the 2001 book of the same title by former Boston Globe reporters Dick Lehr and Gerard O’Neill, the character
actor plays as Boston’s top crime boss whose notoriety is only second to Osama
Bin Laden in the FBI’s Ten Most Wanted Fugitives list.
The film begins in 1975 Boston. James “Whitey” Bulger (Depp),
with his record of nearly a decade in federal prisons including Alcatraz, is a
rising crime kingpin, head of the disreputable Winter Hill Gang, and leading similarly
brutish thugs like Stephen “The Rifleman” Flemmi (Rory Cochrane), Johnny
Martorano (W. Earl Brown), Kevin Weeks (Jesse Plemons) and Tommy King (Scott Anderson). But Bulger has one sombre problem – the Italian mafia
Angiulo family in North Boston whose influence is slowly going South.
Then an opportunity presents
itself via John Connolly (Joel Edgerton),
an FBI agent who also grew up in the slums of South Boston and has known Bulger
since boyhood. Connolly pursues Bulger to team up with him in bringing down the
Angiulo fiefdom. In exchange for providing the FBI with intelligence
information, the Bureau will grant Bulger some sort of immunity for his
dealings. Through all Bulger’s dirty enterprises which include extortion, drug
dealing and murders, FBI seem to turn a blind eye, including even his brother William “Billy”
Bulger (Benedict Cumberbatch) who
happens to be the Massachusetts State Senate president. However, Bulger’s luck
soon changes when a “bulldog” prosecutor, Fred Wyshak (Corey Stoll), moves into
the U.S. Attorney’s Office.
Black Mass feels
derivative, probably because there are already dozens of gangster movies such as
Francis Ford Coppola’s highly-acclaimed The
Godfather trilogy, David Cronenberg’s 2007 multi-awarded Eastern Promises, and Martin Scorsese’s Goodfellas (1990) and The Departed (2006). Nothing is really striking
about the present film except Johnny Depp’s award-worthy performance and the
enigma behind the man he portrays. Presently incarcerated at the United States
Penitentiary Coleman II in Sumterville, Florida, Bulger was sentenced to two
life terms plus five years for 19 charges of murder, extortion, racketing, selling
drugs, and money laundering. It is hard to tell an autobiography so the movie
stages imaginative ways to introduce to us this coolly dangerous man.
The plot is a conglomeration of different events, told by
testimonies given by Bulger’s henchmen after their arrest and their leader’s disappearance.
Here, we are given understanding of the protag through how he is seen by the people
around him. In essence, we do not really see the elements that shape his
personality; instead, we see how his psychological and emotional disposition
influences his surroundings. He is vicious and unhinged, unmoved by people but
cunningly manipulates everyone. Yet, at the early part of the film, he is
depicted with little humanity with the death of his six-year-old son, Douglas
Cyr (Luke Ryan). Sadly for his wife, Lindsey Cyr (Dakota Johnson), who is
partly demonized when she offers to pull the plug off their boy’s life support,
she is never seen again through the remainder of the movie.
The film also veers from the obvious and avoids extremely
violent calisthenics. Instead, killings are swift, sharp, elegantly shot, and
its degree of savageness is hidden but reflected with the spray of blood, a
loud pitiful scream, or the shock and reaction of those who witness them.
However, Black Mass
lacks heart-pounding dramatic tensions. Bulger is a clinical psychopath whose
motivations are obvious and readable. Hence, the movie does not surprise. It is
also very intermittent, instantly killing intense scenes with sudden brooding
scenes.
At some point, the movie becomes farcical, especially with
how the FBI handles Bulger. For an intel force, the FBI seems idiotic when
Connolly covers up Bulger’s countless misdeeds and easily convinces his partner
agent John Morris (David Harbour) and
boss Charles McGuire (Kevin Bacon). Still, this is reality and it is quite discomforting
to realize that such corruption happens inside a law-enforcing and peace-keeping institution.
The biggest achievement of the film is casting a solid assembly of superb actors. Most of them appear for a limited screen time but their moments are ineffaceable and impressive. Edgerton is outstanding as an FBI agent whose professional ethics are tainted with street dealings. It is sad how he degrades without realizing it and only his wife (Julianne Nicholson) takes notice of these subtle changes. Cumberbatch is as good as ever, elegantly portraying a good politician whose oblivious to his brother’s naughty behaviors. While Harbour and Bacon are quite comically pathetic as frustrated FBI agents, Stoll registers as a tough and undeterred federal prosecutor. Peter Sarsgaard, in four remarkable scenes, delivers the pathos of a pathetic druggie businessman. Even Juno Temple, in another prostitute role after Safelight, leaves a touching mark.
Depp is absolutely the star of the film, giving a hypnotic and refreshing performance, his best in the recent years. With all the elaborate effort of dressing him with latex, contacts and thinning whitish-blond hair, he is convincing, charismatic and at the same frightening as a man who can shake up another with his simple piercing stare or ominous, flamboyant words. This is another scary aspect of the film, that Depp is able to sell Bulger as a mercenary of evil and chaos and make him a cool guy.
The biggest achievement of the film is casting a solid assembly of superb actors. Most of them appear for a limited screen time but their moments are ineffaceable and impressive. Edgerton is outstanding as an FBI agent whose professional ethics are tainted with street dealings. It is sad how he degrades without realizing it and only his wife (Julianne Nicholson) takes notice of these subtle changes. Cumberbatch is as good as ever, elegantly portraying a good politician whose oblivious to his brother’s naughty behaviors. While Harbour and Bacon are quite comically pathetic as frustrated FBI agents, Stoll registers as a tough and undeterred federal prosecutor. Peter Sarsgaard, in four remarkable scenes, delivers the pathos of a pathetic druggie businessman. Even Juno Temple, in another prostitute role after Safelight, leaves a touching mark.
Depp is absolutely the star of the film, giving a hypnotic and refreshing performance, his best in the recent years. With all the elaborate effort of dressing him with latex, contacts and thinning whitish-blond hair, he is convincing, charismatic and at the same frightening as a man who can shake up another with his simple piercing stare or ominous, flamboyant words. This is another scary aspect of the film, that Depp is able to sell Bulger as a mercenary of evil and chaos and make him a cool guy.
Black Mass is not
inventive or surprising as another gangster movie. But its cast is too powerful
and strong that it is a sin to miss it.
Production: Cross Creek Pictures
Cast: Johnny Depp, Joel Edgerton, Benedict
Cumberbatch, Rory Cochrane, Jesse Plemons, W. Earl Brown, David Harbour, Dakota
Johnson, Julianne Nicholson, Kevin Bacon, Corey Stoll, Peter Sarsgaard, Adam
Scott, Juno Temple, Bill Camp, Mark Mahoney, Brad
Carter, Scott Anderson, Lonnie Farmer, Mary Klug, Erica McDermott, Luke Ryan
Director: Scott Cooper
Screenwriters: Mark Mallouk, Jez
Butterworth, based on the book by Dick Lehr, Gerard O'Neill
Producers: John Lesher, Brian Oliver, Scott
Cooper, Patrick McCormick, Tyler Thompson
Executive producers: Brett Ratner, James
Packer, Steven Mnuchin, Peter Mallouk, Ray Mallouk, Christopher Woodrow, Brett
Granstaff, Gary Granstaff, Phil Hunt, Compton Ross
Director of photography: Masanobu
Takayanagi
Production designer: Stefania Cella
Costume designer: Kasia Walicka Maimone
Editor: David Rosenbloom
Music: Tom Holkenborg
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