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TWILIGHT Send This Review to a Friend
What a pleasure to see Paul Newman, Susan Sarandon, Gene Hackman, Stockard Channing and James Garner do their stuff in TWILIGHT, directed by Robert Benton, who co-scripted the film with Richard Russo. This is yet another film noir updated for contemporary audiences as further evidence of the continued fascination with the genre by numerous filmmakers.
The beauty of this one is the languid, easy-going tone and the timerity of spinning a yarn about major characters not as young as they used to be. At 73, Paul Newman still has what it takes to charm us yet again in his role of Harry Ross, a private eye with an alcoholic past who is living with ex-movie stars Jack and Catherine (Hackman and Sarandon) because he was shot while on a job bringing Harry's runaway daughter back. The atmosphere in the fancy home is thick with tension.
We sense the vibes between Harry and Catherine along with an underlying mystery. The relationship of Jack and Catherine flourished only after the disappearance of Catherine's previous husband. What really happened to him?
It doesn't take long for Harry to be enmeshed in dealing with blackmail and murder. The film takes its time, and there's texture in the smart banter, the meaningful looks and pauses, and above all, the convincing level of the star performances, including those by Channing as a police detective with whom Harry was once involved and Garner, playing Harry's reliable and enigmatic buddy.
As for Sarandon, she impresses us with every nuance and the screen sizzles whenever she is in a room with Newman. This is a film to relax with rather than see for hyped-up action. Take a look and observe what real acting is supposed to be like and how smooth a knowing director can be when he makes a bygone genre his own. A Paramount release.
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