By: debbie lynn elias
With Oscar season 2003 barely underway, our attention is already shifting to Oscar 2004, and in particularly, to Kurt Russell, who without a doubt, should be among next year’s list of Best Actor contenders given his performance in “Dark Blue.”
Based on a story by veteran crime novelist James Ellroy and scripted by David Ayer, the man responsible for “Training Day”, “Dark Blue” is a “fictionalized” look at the LAPD in April 1992, from the days just prior to the acquittal of the four white officers charged in the beating of black motorist Rodney King through the onset of the racially charged riots which destroyed the city and forever changed the public’s view of law enforcement. Originally written by Ellroy after the Watts riots but unable to hit the screen until now, this is a prime example of “for everything there is season.” Given the obvious and blatant need for police department reform coming to light in the 90’s, the story benefits from the catalyst of the King verdicts as a backdrop to the department’s inner workings and the entire concept of good versus evil, crime and corruption.
In “Dark Blue”, the department’s elite Special Investigations Squad is assigned a high-profile multiple homicide. Known for his tough street tactics and at times, ballistic temper, veteran detective Eldon Perry is assigned to work the case with rookie Bobby Keough. Capitalizing on his elite status with SIS, Perry seizes the opportunity to “teach” another young mind about the “real” world of police work, tutoring the young Keogh in the harsh realties of the street, the people, the force itself, intimidation and corruption. Going head-to-head with Perry’s brand of justice and the SIS, however, is Assistant Chief Holland, who exudes no fear and who is determined to single-handedly end the reign SIS and Perry and their racist brand of police work. While Perry and Keogh conduct their investigation, the audience gets a little more insight than the cops, learning that the murderers are actually on the take with the LAPD, causing the powers that be to order the murders be pinned on some innocent wannabes who are clearly incapable of such heinous crimes. Toss in some more hardened and heartless street criminals, a disillusioned wife, an even more disillusioned and naive girlfriend, internal strife and conflict within the force itself and internal demons each character must face, and we’ve got ourselves that explosive, devastating 8.0 earthquake everyone’s been anticipating with the tectonic plates and levels of strata continually shifting and colliding, keeping you alert, on edge, pensive and even a bit disturbed through the entire film.
While this is clearly Russell’s vehicle, the supporting cast is nevertheless adequate and in some cases, exceptional. Scott Speedman from television’s “Felicity” although doing an average job as rookie Bobby Keogh, comes across as being a little too displaced and out of touch with the character, never quite making one believe that he is a cop – especially once in SIS. Lolita Davidovich as Perry’s disenchanted wife is effectively mealy-mouthed and whiney in her disappointment and lack of understanding at her husband’s 24/7 persona while “ER’s” Michael Michele adds a bit of spice as the white Keogh’s black girlfriend. But Ving Rhames as Chief Holland is one of the few in this cast who comes close to giving a performance anywhere near to that by Russell. Always excellent, always mufti-dimensional, Rhames is again in top form and a solid cornerstone in the ever-changing shake up of our story.
But, the man everyone will talk about is Kurt Russell. Always at the very least, more than competent in every performance of his long career, he goes to new heights as Eldon Perry, with as much emotional fire-power as the Department itself used during the actual riots. In what can only be described as brilliant, Russell gives the performance of his life, using subtle inflections and measured pauses as a counter-balance to the raging, repugnant, self-confident, foul-mouthed street persona seen by all. Let’s just cut to the chase and give him an Oscar now.
Although a seemingly odd choice as a director, having brought us the likes of “Bull Durham”, “Tin Cup” and “Conn”, Ron Shelton proves that he was the man for the job. Although several segments appear a bit “staged,” Shelton nevertheless keeps a fast pace with twists and turns at every level, right up through the bitter end and the onset of the riots at which point he makes good usage of actual news footage from those dark days interspersing it with new footage shot through the haze of battle smoke on the streets of LA. Frighteningly too real. Perhaps his greatest contribution, however, was letting Russell carry the ball and run with Perry as fast and far as the eye could see.
Sgt. Eldon Perry Jr. : Kurt Russell Bobby Keough : Scott Speedman Deputy Chief Holland: Ving Rhames Jack Van Meter: Brendan Gleeson Sgt. Beth Williamson: Michael Michele Sally Perry:Lolita Davidovich
Directed by Ron Shelton
Written by David Ayer
Based on a story by James Ellroy.
116 minutes – Rated “R”
