By: debbie lynn elias
Catch this one if you can! Having opened on Christmas Day, the multi-talented combination of Steven Spielberg, Tom Hanks and Leonardo DiCaprio, brings us one of the finest movies of the year, and definitely one of Spielberg’s best. In a vast departure from Spielberg’s most recent works, “Catch Me If You Can” is a playful, fun-filled rollicking telling of the true story of Frank Abagnale, Jr., a man who by the age of 18 had successfully impersonated an airline pilot, doctor, assistant attorney general and history professor, while at the same time cashing over $2.5 million in forged checks.
Using the unique setting of the now-classic television series “To Tell the Truth” to open the film and set up the factual background, Spielberg then utilizes flashbacks to tell Frank’s tale and the events that led up to his eventual arrest in France and extradition to the United States by FBI agent, Carl Hanratty, who devoted years of his career to in Abagnale’s pursuit before finally catching him. At first glance, Frank, although appearing to have a somewhat sneaky streak in him, is a seemingly harmless teenager, with the picture postcard family. Unfortunately, behind that picture is a boy who idolized his father and then watched his dreams and idealizations go up in smoke when his father’s business fails and his parents divorce. Putting the blame on himself, Frank runs away from home at age 16 and embarks on his five year spree of criminal escapes.
Having learned the art of confidence, appearance and some even some con from his father, Frank quickly realizes that there’s nothing like a man in uniform (any kind of uniform) to convince people that you are “somebody.” Having already displayed his talent for the con when pretending to be a substitute French teacher in high school, begins passing bad checks using an account his dad opened for his birthday. Posing as a high school journalist doing an “inside story” on Pan Am Airlines, Frank uses his winning combination of boyish charm, good looks and an aura of bravura to make off with a pilot’s uniform and begin flying from city to city cashing forged Pan Am paychecks. The airline discovers some “financial errors” in its books and the FBI is brought in with non-nonsense Carl Hanratty heading up the investigation. Sensing the magnitude of the situation, Hanratty becomes fascinated with the con and the mind behind it, entering into a cat-and-mouse game with Frank that would delight even the youngest future agent.
Leonardo DiCaprio gives a performance as the as the devil-may-care Abagnale that will indeed ensconce him forever as “King of the World.” Despite a belief by the real Abagnale that DiCaprio wasn’t “suave” enough to portray him, the film itself is the proof in the pudding that DiCaprio is the man for the job. Downshifting at a moment’s notice from suave, debonair playboy to lost innocent, DiCaprio balances this fine line nicely, giving both a whistful and whimsical performance. Meanwhile, Tom Hanks is as equally magnificent as the beaurocratic paper-loving, Joe-Fridayesque, Carl Hanratty, as he digs below the surface of his investigation, transforming from an agent out to get a perp into a father-figure for Abagnale with a respect and concern for the boy that Frank’s own father never had. No one can bring emotion into focus better than Hanks and he excels at that here in his relationship with DiCaprio. As comes as a complete surprise, Christopher Walken, as Frank’s father, gives a poignant and emotional performance with a depth never seen in his prior works.
“Catch Me If You Can” is a well-acted, slick and stylish production that screams for Oscar consideration in every category. Although taking on a lighter tone than almost anything he has previously done, Spielberg proves once again that nobody can frame a shot or direct the focus of an audience the way he can. Surrounding himself with Spielberg veterans, cinematographer extraordinaire Janusz Kaminksi and editor Michael Kahn, completes the picture. Kaminski, whom you all know I believe to be one of the greatest cinematographers in film history, has a brighter, more colorful look here as opposed to his prior Spielberg ventures. Kahn, long time Spielberg editor and still using an upright moviola for editing, once again demonstrates his mastery of the craft with the artistic fluidity that makes Spielberg better than Spielberg already is (if that’s even possible). Add the very hip costuming of Mary Zophres and you can’t possibly go wrong. Screenwriter, Jeff Nathanson, more than makes up for the fact here that he was responsible for the disappointing, “Speed 2: Cruise Control” back in 1997. Tutored in the art of screenwriting by “Schindler’s List” writer, Steven Zaillian, Nathanson gets a gold star for “Catch Me”, balancing levity, escapades and intrigue against the emotional undertones and relationships that gave rise to Frank’s actions. He does a masterful job of developing the character of Frank, creating emotional layers that make him one of the most sympathetic white collar criminals around. The icing on the cake is John Williams’ score. In his 20th collaboration with Spielberg, Williams departs from his traditional orchestrations and majestic musical swells by churning out a very hep (and hip) score interlaced with classic vocals of the era by the likes of Old Blue Eyes himself.
What can I say, but catch it. Catch it now. Catch it again. By hook or by crook, just catch, “Catch Me If You Can.”
