By: debbie lynn elias
Is there no role that William H. Macy can’t play? From his award winning performance as the physically and emotionally challenged door-to-door salesman Bill Porter, to a physician in the early days of “ER”, to a military man dedicated to the protection of his president and the ideals of freedom, to the manically entertaining racetrack announcer Tick Tock McGlaughlin in last year’s “Seabiscuit,” virtually every part he undertakes screams with understated perfection, believability, intensity, sincerity and honest emotion. His portrayal of lifetime loser Bernie Lootz in “The Cooler” is no exception.
Looking like just any other sad sack hoping to make a fortune with the turn of a card or the roll of the dice, Bernie Lootz wanders the floor at the Shangri-La Casino. He pulls the handle of a slot machine. He loses. He bets lucky 7 in roulette. He loses. He walks by a big winner hitting blackjack after blackjack with $500 bets, and the big winner turns into the big loser. He brushes the back of a gentleman cleaning up at the craps table. Next roll, the man busts. Taking it all in stride and with a good-natured, matter-of-fact attitude, Bernie knows what he is and who he is – a loser. But not just any loser, Bernie is a loser who can turn the luck of any winner into that as bad as his own, a blessing in disguise to a casino.
Bernie is employed by the Shangri-La to bring winning steaks to an end. As his boss Shelly would say, he’s a “cooler.” The Shangri-La is a dying breed. One of the last of the old time casinos; some say even reminiscent of the days of Bugsy Siegel. Every dollar saved by the house means another day the Shangri-La stays in business which makes Bernie a valuable commodity to someone like Shelly and a place like the Shangri-La. Sadly, a group of new investors want to “update” the Shangri-La and bring it in the glitzy 21st Century Vegas concept and eliminate the old style “coolers” – an idea that Shelly is too taken with. And even worse, Bernie’s lucky loser touch is waning, his life is taking an upward turn and he wants out of the Shangri-La.
“The Cooler” tells the tale of Bernie’s life of bad luck, the interesting twists and turns it takes along the way and how Bernie’s life impacts and intermingles with those he meets along the way. Take Shelly for instance. Years ago Shelly had Bernie knee-capped because of outstanding debt, only to turn around and pay the medical bills and then hire Bernie as his “cooler.” And what about Natalie – a casino waitress he helps who repays him with the best sex of his life. (Now that’s what I call gratitude!)
Written by first-time director Wayne Kramer together with Frank Hannah, “The Cooler” is a crisp, clean, no gimmick film that comes up a winner based on the strength of the characters, the main story and its underlying intriguing sub-plots, and heartfelt, life-infused performances by Macy, Alec Baldwin and Maria Bello.
In what is one of the best performances of his career, Alec Baldwin gives casino manager Shelly Kaplow a multi-dimensional edge. While retaining the mob boss like image of yesteryear, Baldwin gives Shelly an underlying kindness that bubbles just below the surface, gruffly emerging when his “family” or his “home” are in trouble.
Never ceasing to amaze me, William H. Macy turns in another memorable performance as lifetime loser Bernie. With a nonchalant good-naturedness, Macy skips the pity factor, making Bernie likeable, loveable and memorable; someone who accepts the hand he’s dealt with a gracious shrug of his shoulder. Fueled by the intensely “normal” performances and chemistry between Macy and Maria Bello, the relationship between Bernie and Natalie develops in a lifelike fashion before our eyes. Two people drawn together by the life long school of hard knocks, there is no “love at first sight.” Their relationship is grounded with a reality that interplays with everything and everyone around them. Bill Macy recently joked that he has worked out for the past 30 years hoping for the chance to play one good love scene. He gets his chance here with Bello with what some directors may have sent into borderline R-X rating material but in the hands of Macy and Bello, the physical relationship comes across as merely an extension of life – raw, intense and messy, yet tender and heartfelt.
Supporting cast members Paul Sorvino and Joey Fatone complete the already winning hand of characters.
Although overall a crisply written, compellingly strong script, Kramer and Hannah fall prey to over-development with the insertion of some peripheral characters and sub-plots involving Bernie’s long lost son and his trailer trash girlfriend, both of which are unnecessary, unwanted and only detract from the otherwise exemplary work.
Furthering the ambience of the film is the five star work by production designer Toby Corbett whose attention to detail reminds us all what made Vegas, Vegas back in its hey day when gambling was gambling and adults went there to get away from the kids. Cinematographer James Whitaker then takes everything one step further with some fast-paced, high-rolling casino work that creates a visual excitement all its own.
Emotionally charged, finely developed characters, interesting and intriguing storyline. No gimmicks. No tricks up the sleeve of director Kramer. Just good old-fashioned filmmaking. No “cooler” brushed up against “The Cooler.” A winning hand all around. Deal me in.
Bernie Lootz: William H. Macy Shelly Kaplow: Alec Baldwin Natalie Belisario: Maria Bello Buddy Stafford: Paul Sorvino Johnny Capella: Joey Fatone
Directed by Wayne Kramer. Written by Frank Hannah and Wayne Kramer. A Lions Gate release. Rated R. (101 min.)
