Brooklyn Rules
City Lights Pictures
Starring: Freddie Prinze Jr., Scott Caan, Jerry Ferrara, Alec Baldwin and Mena Suvari.
Director: Michael Corrente
It's 6:45PM outside the Columbus Theater on Broadway in Providence. My beautiful girlfriend is tightly in tow while being greeted by suited men with the flashiest ties and handkerchiefs; the easiest form of dialogue emitting from their lips as we shake hands: "How you doin'?" I glanced down to my own attire of a black suit jacket, graphic tee shirt, jeans and hiking sneakers and instantly mused about the thoughts of winding up in a dark alley with a bullet between my eyes for dressing unaccordingly. But hell, its a movie premiere in the smallest state of the union; I had a feeling I'd make it out alive.
I have to make this abundantly clear: just because people reside in or around Providence, does not mean they have social ties with the mob. I'm a rather odd breed of eight different nationalities; one quarter of my blood is filled with Italian ancestry while my skin and facial hair resembles that of an Irishman. Sticky situation, don't you think? Fitting in by blood but not fitting in by appearance. I knew I was due for a haircut and a long-desired session with a beard trimmer, but time hasn't been my ally lately. I pressed on inside, being greeted by the director and noticing at least two acquaintances from my old high school. Only in Rhode Island, I thought to myself.
Now, a heavy portion of us here in RI are still obsessing over the last
Sopranos season, while others have not been so dedicated and shifted to other channels for crime/drama films or shows to feed their need for mob-related madness. Surprisingly enough, Terence Winter, a contributing writer to
The Sopranos, has held a gem for a long time before placing it in the hands of the perfect director: Michael Corrente. This gem will become known as
Brooklyn Rules. The Pawtucket, Rhode Island native's vision has flourished from previous films such as
Federal Hill and
American Buffalo. With cinematographer Richard Crudo at his side, the duo takes us back to a time in a Brooklyn neighborhood during the mid-80's at the peak of mobster John Gotti's invasion.
Entrance into the dangerous mob world is easily within the reach of the three main characters. Michael (Prinze Jr.) has aspirations of becoming a lawyer; a dream sometimes thought unattainable due to his background. Carmine (Caan) has always been fascinated with the mob, and when the local gangster (Baldwin) takes an interest in him, he can fall victim to the life of crime, false respect, money and bloodshed. Bobby (Ferrara) is forced to grow up, face reality, and finally take the reins of his two-year relationship with his girlfriend (Keena). It was a simpler time years ago, but as they grow up, they run the risk of growing apart.
This film shows the unbreakable bonds between neighborhood friends, despite what roads they take in life. We've all grown up on a street block so it is almost too easy to connect with characters who have known each other since they were in their mothers' wombs. Time and change is their worst enemy: their interests, goals and obligations change as each develop into their own man.
Its dark in the nightclubs. Its bright on Columbia University's campus. It is real. The design of the film makes it feel as more of a memory in the back of your mind than a visual representation of the celebrated 1980's; where musical ballads showcased a way of life for all to live up to and a disgustingly large amount of hair spray was found on the top of everyone's head. Looking ahead twenty years, we are bombarded with spam emails, endless tele-marketers from a different country and credit card offers with the highest percentage rate stuffed in your mailbox. Things were certainly simpler before technology took the helm.
The pacing is as organic as a story on film can get. Its well-balanced: not too much violence, not too much love, not too many wisecracks and you can easily sink into your seat and relax scene by fruitful scene. It flows more swift than the Blackstone and leaves you wanting more by the end. The music of the times aided heavily in the film's soundtrack, once again resorting to the fitting tracks of artists such as the Rolling Stones. This film's soundtrack reminds me how easily the right music can lift a scene and burn it into your memory. These days, some people remember songs by what film they were used in, and I suffer from that diagnosis honorably.
Corrente has rejuvenated many of the actors' careers in this film. Sadly enough, what does everyone remember Freddie Prinze Jr. (Michael) from:
Wing Commander?
Scooby-Doo? I shiver at the thought of him being remembered for those celluloid disasters. This film let him flaunt his acting chops for once in his life, and it certainly paid off. He sports a range that will make most women quiver: that of a guy from dirty Brooklyn who once thought he could only dream of something better. But now, he's got the means to do so and Prinze Jr. glistens on the screen rather than being set aside in the hunt for the latest ghost inhabiting an old run-down hotel.
Scott Caan (Carmine) displays the perfect 'wannabe-wiseguy,' reminding me constantly of local denizens I see in passing on the streets or in the local bar. Rhode Island takes its movies home with them; sadly I just don't hear anyone imitating Yoda on the streets as of late. Caan has certainly put himself next to his father (James Caan) in terms of selecting his roles and diving into the character headfirst. Leave the cannoli, keep Caan. His talent leaves hope for other actors his age.
Jerry Ferrara (Bobby) is the real heart of the film. His character, Bobby, easily breaks him away from his Entourage mold. His endless dedication to his best friends make us yearn to go back in time when all we'd have to do is toss a pebble at a friend's window to get them outside and hang out, compared to playing phone tag on cell phones during rush hour. He's the sweet and devoted bedrock we wish we'd always had growing up. He never ventures too far away; he knows his place and he is happy with that.
Alec Baldwin bestows a solid foundation and teasing entry into the underworld of organized crime. He hasn't been this appealing since The Hunt For Red October and you find yourself wanting to be taken under his protective wing. Though he is the personification of corruption on the streets, his long-distant charm has finally made its way back to his portrayals.
Mena Suvari provides the outside point-of-view that the film demanded. She plays a Connecticut girl attending the prestigious Columbia University while learning firsthand of the grungy side of life: fist-fights, respect and remembering where you always come from. Since there is lack of a police presence in this 'crime' movie, Suvari's character acts as the closest translator for the audience. She is the conscience, reminding what is right and wrong even in a life filled with crime, crisis and turmoil.
Rules has something for everyone. It is laced extensively with priceless comedic moments, hidden yet-torturous gangster scenes shot in tribute of
The Public Enemy, and the most subtle and gentle scenes that make a guy feel lucky to have a girl by his side. This isn't a mob movie, although many will strongly disagree. In a typical mob film, our main character watches as his friends are murdered around him before he meets his own untimely demise. Whereas in "Rules," we discover that friends are the one thing you've always got that your enemies can never take away.
This buddy film beautifully lays the pavement for another "Buddy" picture; one I am sure all of Providence and its surrounding counties has been craving to see. Michael Corrente has always returned to his roots and it certainly shows in his films. Hollywood won't be getting him anytime soon; he's rather comfortable right here in our neck of the woods providing the kind of well-rounded pictures we thought were long extinct.
Brooklyn Rules opens in Providence on May 11th and in Boston, New York City and Los Angeles on May 18th.
Brooklyn Rules comes to DVD on September 18th, 2007.
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