The Matador

By: debbie lynn elias

Originally written for digital video and a mere $250,000.00 budget, writer/director Richard Shepard

struck pay dirt once Pierce Brosnan got a hold of the script for “The Matador.” Seeing the potential in this quirky and entertaining work, Brosnan signed on not only to star in but produce the film, thankfully taking it from what could have been an excellent but obscure little independent film to one with star power and major theatrical release. And let me tell you – this will be one of the first bona fide hits of 2006.

A hit man and a failed businessman walk into a bar in Mexico City… and so our story begins. Julian Noble is a hit man. Successful, talented and adept at his work, and a womanizer to the core, he is nevertheless, alone – and on the road to burn out. Desiring retirement from the assassin business, Julian sees his future in one, Danny Wright. A once successful business man who is also hard working and adept at his craft, Danny’s life has taken a downward turn over the past 3 years following the death of his son. So tragic is his luck and life that while trying to have a little fun with his wife, a tree comes crashing through their kitchen window. Despite this, Danny is married and seems happy – factors that Julian finds most appealing. Desperate for a turn around, Danny is now in Mexico to make one final stab at turning his life around with a huge business deal.

Initially put off by the braggish Julian, Danny slowly comes around and the two strike up the most improbable of friendships – especially when Julian convinces Danny to attend a bullfight with him. Safely ensconced in the world of male bonding, Julian decides to take Danny into his confidence (not to mention show off a little) and gives him a little demonstration of his business abilities, i.e., being a hit man. After all, there is a reason that in Julian’s world he is known as “The Matador.” Rather than be put off by Julian’s profession, Danny is intrigued, however, not quite intrigued enough to accept Julian’s offer of financial aid by being his “assistant” on his next job. Or is he?

Fast forward six months or so later. It’s Christmas in Denver. A peaceful, residential neighborhood straight out of a Currier & Ives postcard. And look, it’s the Wright house. But that image is suddenly broken with a knock on the door which when opened, reveals Julian standing in the doorway. Down on his luck and totally burned out, he has lost his touch. Unable to complete any of his assignments, Julian turns to Danny for help.

I can think of no one better than Pierce Brosnan to play Julian Noble. So familiar with the suave, debonair, cool-as-a-cucumber James Bond (let’s face it folks – he IS James Bond) that I think many have forgotten the playful, devil-may-care aspects he brought to his other signature role – that of Remington Steele. As Julian Noble, Brosnan embodies the best of both roles and then adds the playfulness of a schoolboy tinged with the wistfulness of middle-age. Brosnan indelibly etches Noble in one’s mind, not just with hysterical visuals (Speedos with a cowboy hat and boots or painting his toenails metallic purple) but with his verbal sparrings and self-deprecating humor, and all the while managing to convey the inner turmoil of the character. Breaking down Julian’s veneer as the matador does with a bull, one sword at a time, his performance is priceless! A perfect counterpart to Brosnan is Greg Kinnear as straight-man, Danny Wright. Effective, emotionally disabled and disarming, he has a buoyancy that flows through the film. Hope Davis steals every scene as Danny’s wife, Bean. With the flirtatious excitement of a schoolgirl, she is flawless and takes what would normally be a minimal role, making it her own; making it pop. Through her, we see a different side of both men which adds to the intrigue and fun of the story. Davis is simply an absolute joy to watch.

Written and directed by Richard Shepard, the production is a well honed work. A pitch perfect blend of writing, character development, acting and editing, the film develops levels of intrigue that surpass the actual script, giving us a much more layered, multi-textured, interesting and fun film. Not a film to rely on special effects or in-your-face-plot devices, the film is an exceptionally well crafted study in human behavior with some, albeit, enjoyably quirky twists. Key are the characters of Julian and Danny who are perhaps two of the most fascinating characters to come around in a long while.

Shepard’s direction is also beyond reproach. Using numerous extended scenes to develop the characters and their relationship, none is more effective than the bullfight scene, which is enhanced even further by the work of cinematographer David Tattersall and editor Carole Kravetz. Shot-by-shot, step-by-step, the work is exemplary. Kudos also to the multi-location/exotic locale feel (although the film did shoot the Mexico City scenes on location) created by production designer Robert Pearson who together with costume designer Catherine Marie Thomas does as much to help build the story and Julian Noble’s character as Brosnan does.

Intelligently written with sparkling and witty repartee, intriguing quirkiness and entertainment value that is endlessly enjoyable, “The Matador” is the film to take a stab at this week!

Pierce Brosnan: Julian Noble

Greg Kinnear: Danny Wright

Hope Davis: Bean Wright

Written and directed by Richard Shepard. A Miramax release. Rated R. (96 min)