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<blockquote data-quote="Mel O&#039;Drama" data-source="post: 434726" data-attributes="member: 23"><p style="text-align: center"><strong><span style="font-size: 22px">The Big Easy </span></strong>(1986)</p> <p style="text-align: center"></p> <p style="text-align: center"><img src="https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Ftse2.mm.bing.net%2Fth%2Fid%2FOIP.LziJK4Ikxc8fNzrVle4K1QHaLo%3Fpid%3DApi&f=1&ipt=75ac9a71f64fc5540a99a01aa017b2cff70760b461f3a3f729f52d8feee6e4af" alt="" class="fr-fic fr-dii fr-draggable " style="" /></p><p></p><p>How interesting that this came out around the same time (and just a little before) Dave Lee Burke's first Robicheaux novel, since - from what I know - they have a similar approach: showing the dark underbelly of New Orleans with its beautiful backdrop and charming, colourful, ostensibly laid back characters. </p><p></p><p>First, let's get this over with: I had initial reservations about Dennis Quaid's Cajun accent. I don't claim to be overly familiar with it, but it just sounded fake and over-stereotypical. This wasn't helped by the fact that I've heard him speak without the accent in other films, which made it harder to buy. For ten minutes or so, I really thought I might have to stop watching as it was distracting. At some point, I adjusted to it and was too drawn in to overthink it (even if I did find myself wondering if this character was the model for <em>X-Men's</em> Gambit, who would appear a few years down the line). </p><p></p><p>A lot happens in this film, and yet it doesn't feel as though it does. Because the main focus is on the simplicity of the will they/won't they/they just did element which increases the emotional stakes (for the characters, at least), the series of executions that leaves a trail of bloody, mutilated bodies lying around seems almost incidental. The chemistry between Quaid and Ellen Barkin is good, but after their sexiest scene (interrupted by a pager or a prehistoric mobile phone) practical me found myself noticing that Remy hopped out of bed and left without so much as rinsing that hand. The directorial objectification is happily gender-balanced in this film (I don't know if Levi's had any sponsorship, but it would explain the focus on the McSwain brothers' jeans).</p><p></p><p>Familiar faces abound. There's Ned Beatty and, because it's 1986 John Goodman had to be in it. Meanwhile, in between shooting Karen Fairgate MacKenzie and grieving Laura Palmer, Grace Zabriskie is Quaid's Mama. She has one of my favourite moments, where Anne has been practically abducted while running and brought to her home so Quaid can sing to her. Mama asks Anne why she's wet, and Anne explains she was running. Mama, brow furrowed, looks at Anne as though she's speaking in tongues, and repeats "runnin'", before walking away, perplexed at the very thought of something so un-Southern. Ebbe Roe Smith has perhaps the biggest laugh where his character cross examines someone on the stand. After listening their perfectly reasonable explanation he thanks them, turns away from them towards the courtroom and shrugs with a look that says "I have no idea what they were blathering about". A simple-but-effective way to gain a few cheap points. </p><p></p><p>The film looks nice enough. It's kind of noir-in-colour (contradictory as that may sound). There are lots of saturated warm ochres and other earth colours, with blues sometimes making their way in for contrast. </p><p></p><p>As mentioned, the whodunnit was almost incidental to me, but the denouement should satisfy anyone invested on that basis.</p></blockquote><p></p>
[QUOTE="Mel O'Drama, post: 434726, member: 23"] [CENTER][B][SIZE=6]The Big Easy [/SIZE][/B](1986) [img]https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Ftse2.mm.bing.net%2Fth%2Fid%2FOIP.LziJK4Ikxc8fNzrVle4K1QHaLo%3Fpid%3DApi&f=1&ipt=75ac9a71f64fc5540a99a01aa017b2cff70760b461f3a3f729f52d8feee6e4af[/img][/CENTER] How interesting that this came out around the same time (and just a little before) Dave Lee Burke's first Robicheaux novel, since - from what I know - they have a similar approach: showing the dark underbelly of New Orleans with its beautiful backdrop and charming, colourful, ostensibly laid back characters. First, let's get this over with: I had initial reservations about Dennis Quaid's Cajun accent. I don't claim to be overly familiar with it, but it just sounded fake and over-stereotypical. This wasn't helped by the fact that I've heard him speak without the accent in other films, which made it harder to buy. For ten minutes or so, I really thought I might have to stop watching as it was distracting. At some point, I adjusted to it and was too drawn in to overthink it (even if I did find myself wondering if this character was the model for [I]X-Men's[/I] Gambit, who would appear a few years down the line). A lot happens in this film, and yet it doesn't feel as though it does. Because the main focus is on the simplicity of the will they/won't they/they just did element which increases the emotional stakes (for the characters, at least), the series of executions that leaves a trail of bloody, mutilated bodies lying around seems almost incidental. The chemistry between Quaid and Ellen Barkin is good, but after their sexiest scene (interrupted by a pager or a prehistoric mobile phone) practical me found myself noticing that Remy hopped out of bed and left without so much as rinsing that hand. The directorial objectification is happily gender-balanced in this film (I don't know if Levi's had any sponsorship, but it would explain the focus on the McSwain brothers' jeans). Familiar faces abound. There's Ned Beatty and, because it's 1986 John Goodman had to be in it. Meanwhile, in between shooting Karen Fairgate MacKenzie and grieving Laura Palmer, Grace Zabriskie is Quaid's Mama. She has one of my favourite moments, where Anne has been practically abducted while running and brought to her home so Quaid can sing to her. Mama asks Anne why she's wet, and Anne explains she was running. Mama, brow furrowed, looks at Anne as though she's speaking in tongues, and repeats "runnin'", before walking away, perplexed at the very thought of something so un-Southern. Ebbe Roe Smith has perhaps the biggest laugh where his character cross examines someone on the stand. After listening their perfectly reasonable explanation he thanks them, turns away from them towards the courtroom and shrugs with a look that says "I have no idea what they were blathering about". A simple-but-effective way to gain a few cheap points. The film looks nice enough. It's kind of noir-in-colour (contradictory as that may sound). There are lots of saturated warm ochres and other earth colours, with blues sometimes making their way in for contrast. As mentioned, the whodunnit was almost incidental to me, but the denouement should satisfy anyone invested on that basis. [/QUOTE]
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