"THE PELICAN BRIEF" (1993) Review

 

"THE PELICAN BRIEF" (1993) Review

In my review of "THE FIRM", I had once referred to the period in which bestselling novels written by attorney-novelist John Grisham as "Age of Grisham". This same period - mainly the 1990s - also saw the release of movie adaptations of Grisham's novels. Released in 1993, "THE FIRM" was not the only Grisham released that year. Another Grisham adaptation was released six months later - "THE PELICAN BRIEF".

Directed by Alan J. Pakula and based on Grisham's 1992 novel, "THE PELICAN BRIEF" told the story of a Tulane University law student named Darby Shaw writes a legal brief detailing her theory on why two Supreme Court Justices had been murdered. The elderly and infirmed Justice Rosenberg, a liberal, had been shot inside his home, along with his nurse. The Republican-appointed Justice Jensen was found inside a gay porn movie theater, strangled to death. Both had been murdered by a paid assassin named Khamel. Out of curiosity, Darby engages in research of Rosenberg and Jensen's records and writes a legal brief speculating they were not killed for political reasons. Darby links the assassinations to an oil tycoon named Victor Mattiece, who wants to rearrange the Supreme Court in order to win a case. Matticece had discovered oil beneath a Louisiana habitat in the marshlands but was blocked from drilling due to a lawsuit filed to protect an endangered sub-species of brown pelicans. Because Rosenberg and Jensen were both pro-environmentalists, Darby suspected they were killed. Mattiece also has ties to the U.S. President, due to being the latter's biggest financial contributor. At the same time, Washington Herald reporter Gray Grantham receives a call from an informant named "Garcia", who claims to have information about the assassinations. Although Gray manages to snap a photograph of "Garcia", the latter disappears without a trace.

Matters eventually grow worse for Darby. She gives the brief to her law professor and lover Thomas Callahan, who in turn gives a copy to his good friend Gavin Verheek, Special Counsel to the Director of the FBI. It does not take long for Darby's brief - dubbed as "the Pelican Brief" - to circulate among the F.B.I., the C.I.A. and the White House. Not much time passes before a car bomb kills Callahan at a New Orleans parking lot. Since Darby was outside of the car during the explosion, she manages to avoid Callahan's fate. Realizing that her "Pelican brief"may have been accurate, Darby goes into hiding and reaches out to Verheek for assistance and Gray for more information about the brief's circulation. Unfortunately, Verheek ends up murdered in New Orleans. Darby finally decides to meet with Gray before the pair sets out to find "Garcia" in Washington D.C., the one person who has the evidence to link Mattiece with the justices' deaths.

With a running time of 141 minutes, "THE PELICAN BRIEF" is a pretty long movie. I do wonder if today's younger moviegoers would have the patience to watch a political thriller that runs over two hours long. Personally, the movie's running time did not bother me. I thought it gave director/screenwriter Alan J. Pakula enough time to explore the film's narrative in great detail - Rosenberg and Jensen's murders, Darby's research and preparation for her legal brief, how her brief ended up being circulated around the nation's capital, Gray's attempt to connect with and later find "Garcia", Darby's evasion of the attempts on her life, the pair's search for "Garcia"'s identity and his evidence against Victor Mattiece. I am happy to say that Pakula did not take any major shortcuts to transform a three hundred-and-eighty-seven-page novel into movie that ran over two hours. Some might suggest that Pakula could have shortened the movie a bit. I am not certain I would agree with that. I would not have enjoyed the film more if he had edited the narrative. However, I do wish Pakula could have stepped up the pacing a bit. I have seen movies that were just as long or even longer than "THE PELICAN BRIEF". And yet, they moved at a faster pace and were never in danger of putting me to sleep.

The idea of a CEO or business tycoon sanctioning one or two political murders for the profit may seem a bit implausible to some. It seemed more than plausible to me. One only has to study either U.S. or World History to realize how business or corporate greed has played a role in politics, wars, crime or the combination of all three. But what I found a little implausible about Gresham's plot was the idea of a law student's legal brief about the recent murders of two Supreme Court justices being circulated about the F.B.I., the C.I.A. and the White House. One, why would Darby research the two murders and create a legal brief that accuses a powerful CEO of sanctioning the murders? As if she was engaged in a school project? And why did Thomas handed over her brief to a F.B.I. official, who happened to be a close friend? As an incentive for the agency to investigate? I found that hard to believe, considering that Thomas' attitude toward the brief seemed to be that of a proud boyfriend revealing how clever his girlfriend is to a friend. What I am saying that the vibe behind Darby's initial investigation and Thomas' decision to circulate the brief seemed wrong . . . to casual. I wish Greham had created a stronger reason for Darby to investigate the two justices' deaths and for Thomas to pass her brief to the F.B.I. Or Pakula could have created stronger reasons behind both actions, when he wrote the adaptation.

"THE PELICAN BRIEF" featured several action sequences that I found pretty solid. Most of these sequences occurred in the movie's first half and featured a team of assassins hired to kill her. I found them rather tense, especially the chase scene that led into a crowd celebrating Mardi Gras in New Orleans' French Quarter. But they did not blow my mind. The one action sequence that really impressed me proved to be the last one that featured the assassins' attempt to kill both Darby and Gray. I found it odd that the assassins, who had been following the pair for nearly 24 hours, did not make any attempt until after they got their hands on "Garcia"'s evidence against Mattiece and the latter's law firm. A relative of mine had suggested the assassins not only wanted to kill Darby and Gray, but also destroy the evidence they had acquired. Perhaps she was right. If so, I do wish that the movie had indicated this. If it had, would someone please point out the scene?

I must admit that there is something about the film's settings I found unusual. "THE PELICAN BRIEF" is set in New Orleans of the Deep South and Wahington D.C. and Maryland, which are part of the Upper South. Yet, I never sensed any Southern vibe in this film. Not even when the film focused around New Orleans' famous French Quarter. There seemed to be something ethereal about Pakula's filmmaking style that made me forget this movie is set in the South. Perhaps it was Stephen Goldblatt's sleek cinematography or the movie's slight generic tone. This strikes me as a pity, considering the movie's two major locations - New Orleans and Washington D.C. - usually convey more colorful and atmospheric vibes in other films.

But I must admit that I enjoyed Pakula's portrayal of the political characters in this film. The characters radiated an ambiguous, yet cynical vibe that hinted Darby and Gray's mistrust of them. This especially seemed to be the case of both the F.B.I. and the C.I.A. Directors' attitudes toward the White House and the President's controlling Chief of Staff Fletcher Coal. The two agencies' reactions to Darby's legal brief struck me as very interesting. F.B.I. Director Denton Voyles seemed to relish the idea of investigating the connection between the President and Mattiece, due to his dislike of Coal. Yet, he had allowed the President to convince him to delay the investigation as long as possible. On the other hand, C.I.A. Director Bob Gminski seemed to have a more paranoid reaction to Rosenberg and Jensen's deaths, along with Darcy's brief by assigning agents to shadow Darcy in the immediate aftermath of the brief's revelation.

The White House officials featured in this film - from the slightly high-strung President to his cool and calculating Chief of Staff, and finally to the array of smarmy White House officials and private lawyers who either expressed disbelief that a law student may have solved the mystery behind the two justices' murders or amusement over the brief's potential impact on the President's administration. The cynicism that permeated from the politicians and lawyers in this tale seemed to touch the journalists featured in the movie. Even the leading man, Gray Gratham, seemed to harbor a touch of cynicism, despite his somewhat "noble" facade. As for his editor-in-chief, Smith Keen, the man and his tongue seemed to radiate cynicism - despite any fondness he might have for Gray. It occurred to me that the cynicism, ruthlessness and desperation from the characters featured in the Washington D.C. served the movie's narrative very well, especially for its Washington D.C. setting.

The performances featured in "THE PELICAN BRIEF" seemed to range from solid to first-rate. But if I must be honest, there did not seem to be any performance that really impressed me, save for a handful. What was it about the acting that failed to blow my mind? I believe this situation had a lot to do with some of the dialogue featured in the movie. How can I put this? There were times when I found myself wincing from some pretty pretentious dialogue that struck me as unnecessary. Despite these occasional bursts of pretentious dialogue, I had no problems with the cast's performances. Well . . . most of them.

"THE PELICAN BRIEF" featured solid performances from the likes of Sam Shephard, Tony Goldwyn, Cynthia Nixon, John Heard, Anthony Heald, William Atherton, Jake Weber, Nicholas Woodeson, Casey Briggs, Christopher Murray, Ralph Cosham, John Finn and Stanley Anderson. There were some performances that I found entertaining or interesting. John Lithgow gave a witty and entertaining performance as The Washington Herald's editor, Smith Keen. Sonny Jim Gaines struck me as equally entertaining in his brief role as Gray Grantham's White House mole, Sarge. Hume Cronyn gave an effective performance as the ill, yet sharp-tongued Justice Rosenberg. James K. Sikknig's portrayal of F.B.I. Director Denton Voyles struck me as very skillfully ambiguous. But I believe the film's best performance came from Robert Culp, whom I believe gave an excellent performance as the President. The latter did an excellent job in portraying a slightly weak, yet vacillating head-of-state who depended too heavily on his Chief of Staff for decisions.

You might ask . . . what about the film's leads, Julia Roberts and Denzel Washington. I thought the latter gave an excellent portrayal of the stubborn, yet stalwart Gray Grantham. There were times when I found Washington's Gray nearly too ideal. But I would attribute that flaw to Pakula's screenplay and not the actor. Thankfully, both the screenplay and Washington managed to infuse a little ambiguity in Gray's character during his first hunt for the informant "Garcia". I thought Julia Roberts gave a very solid performance as the film's other protagonist, Darby Shaw. I was impressed how her performance transformed Darby from an outgoing and warm woman, to one who became withdrawn and paranoid through grief, and her struggles to stay one step ahead of assassins. But I have two major problems with Roberts' performance. One, her Darby Shaw seemed another one of her characters throughout the 1990s that were put pedestals by the end of her films. And two, although she seemed to be a competent actress, there were times I found her performance slightly wooden. Whenever Darby experienced an emotional trauma, Roberts had this tendency to change her performance - but without any smooth or gradual transitions. Her mood changes almost seemed a case of "acting by the numbers or the beat". Fortunately, it did not take Roberts very long to outgrow this trait.

I have never considered "THE PELICAN BRIEF" as my favorite adaptation of a John Grisham novel. One, I feel that the movie's pacing struck me as a bit too slow, especially in the first half. The movie's screenplay featured some unnecessary pretentious dialogue. I wish the film's settings could have been a bit more colorful. And there were some acting decisions that I found questionable. Fortunately, the movie's virtues outweighed its flaws. Thanks to Alan J. Pakula's screenplay and direction, along with an excellent cast led by Julia Roberts and Denzel Washington, "THE PELICAN BRIEF" proved to be a first-rate political thriller that featured a very interesting and original tale.

"THE PELICAN BRIEF" (1993) Photo Gallery

 

Below are images from "THE PELICAN BRIEF", the 1993 adaptation of John Grisham's 1992 novel. Adapted and directed by Alan J. Pakula, the movie starred Julia Roberts and Denzel Washington:



"THE PELICAN BRIEF" (1993) Photo Gallery

"THE FIRM" (1993) Review

"THE FIRM" (1993) Review

To this day, I am surprised that film critics and historians have not looked back on the 1990s as the "Age of Grisham". I am referring to attorney-novelist, John Grisham, who wrote many bestsellers - especially his legal thrillers that were released between 1989 and 2000. In fact, the decade also saw several adaptations of Grisham's bestsellers - including 1993's"THE FIRM". 

Based upon Grisham's 1991 novel, "THE FIRM" told the story of a recent Harvard Law graduate named Mitchell "Mitch" McDeere, who is seduced with perks that include a new house and car by Bendini, Lambert & Locke to join its small and prestigious law firm in Memphis. He is there to specialize in accounting and tax law. After he and his wife, Abigail "Abby" move to Memphis, Mitch acquires a mentor named Avery Tolar, one of the firm's senior partners, to teach him the firm's professional culture, which includes complete loyalty, strict confidentiality, and a willingness to charge exceptional fees for their services. However, the recent deaths of two BL&L attorneys in the Cayman Islands and an encounter with a pair of F.B.I. agents named Wayne Tarrance and Thomas Ritchie lead Mitch to seek advice from his convict brother Ray and the latter's friend, a Little Rock private detective named Eddie Lomax. Unfortunately, Lomax's murder at the hands of the firm's thugs, his one-night stand with a strange woman during his trip to the Caymans with Avery, and the FBI's revelation that BL&L is a front for laundering money for a Chicago mob family makes Mitch feel that he has no choice but to cooperate with the FBI - even if it meant being disbarred.

To this day, I regret that I had never seen "THE FIRM" at a movie theater. Come to think of it, I have only seen one Grisham movie adaptation in the theaters - 1994's "THE CLIENT". Do not get me wrong. I enjoyed "THE CLIENT". But if I had to choose between that and "THE FIRM" to see at a movie theater, I would choose the latter. "THE FIRM" is a first-rate legal thriller that was released during the summer of 1993. Which I found unusual, considering it is not the type of movie that is usually released during that particular season. Perhaps that was the reason why I had ignored it when it was first released. Dummy me.

What can I say about "THE FIRM"? It is a well written mixture of legal, romantic and criminal drama, along with some well-paced tension. The movie even featured action scenes that kept me on my toes. Foremost of all, "THE FIRM" is about the corruption . . . or attempted corruption of one Mitchell McDeere. He must have seen like the perfect candidate in the eyes of Bendini, Lambert & Locke's senior partners. Mitch was among the top five graduates in his class. He pretty much made his ambition clear during his job interview near the film's beginning. And I noticed during his and wife Abby's initial trip to Memphis, he literally seemed thrilled by the attention given to him by the firm's employees . . . along with the high salary they were willing to pay him. Knowing that he came from a working-class background, it seemed obvious that one of the senior partners, Oliver Lambert, knew how to manipulate Mitch by utilizing a "We're more of a family" speech during this trip. And after he had revealed his first encounter with the FBI, during seminar trip to Washington D.C., the firm went out of its way to ensure that Mitch would be fully corrupted and trapped by setting him up with a prostitute during his trip to the Cayman Islands with his mentor, Avery Tolar.

But you know . . . the firm could not have corrupted Mitch on its own. Its partners had helped . . . from Mitch himself. There is nothing wrong with ambition. But it seemed obvious that Mitch was so hindered by his insecurity over his working-class background that he made it almost easy for the firm to corrupt him. I noticed during his and Abby's initial trip to Memphis, Mitch became so caught up in the idea of being part of the Bendini, Lambert & Locke "family" (which included a new house and car) that he tuned out Abby's observations about the rigid nature of the firm's employment standards. Even worse, Mitch's class insecurities led to that fight with Abby before his trip to the Caymans and into the arms of that prostitute. The firm may have arranged his encounter with her, but Mitch made the choice to cheat on Abby that night. His encounter with F.B.I. Director F. Denton Voyles in Washington D.C. finally opened Mitch's eyes to the true and corrupt nature of the firm . . . along with his own precarious situation. 

Although the F.B.I. led Mitch to finally see the light, I must admit that I found their idea of what constituted justice rather alarming. In the agency's fervent attempt to bring down Bendini, Lambert & Locke, Director Voyles and Agent Tarrance had no qualms about coercing Mitch into cooperating with them. They offered him two choices - steal and expose the firm's files . . . or eventually face prosecution with the firm's other attorneys and partners. I other words, the F.B.I. gave Mitch the options of disbarment or prison. And both would spell the end of his brief career as an attorney. The Little Rock private detective, Eddie Lomax, had been right to warn Mitch that the F.B.I. could not care less about him, despite the fact that Mitch knew nothing about the firm's criminal ties. I am sorry, but this is not my idea of justice.

"THE FIRM" had made changes to John Grisham's original plot. In the movie, Mitch received a Mercedes-Benz, instead of a BMW for joining the firm. In the novel, Avery Tolar was Avery Tolleson and in the latter, he was not portrayed with any sympathy . . . just another villain like the other partners. Mitch had confessed to Abby about his one night of infidelity in the movie. No such thing happened in the novel. There were other differences between the movie and the novel. But the biggest one proved to be the ending. Many Grisham fans have expressed displeasure at the decision of director Sydney Pollack and screenwriters David Rabe, Robert Towne and David Rayfiel to change Mitch and Abby's fates. The novel ended with Mitch scamming $10 million from the firm and finally turning over their files to the F.B.I. This act led him, Abby and his brother Ray to make their escape to the Caribbean, continuously sailing from one end of the Caribbean to the other in fear for their lives. Pollack and the screenwriters decided to change this by having Mitch come up with a way to get the firm's attorneys prosecuted (thanks to a disgruntled client) by exposing its systematic overbilling scheme. This would bring down the firm, force the Morolto Brothers to find another firm willing to accept them as clients in time to avoid charges for non-lodgment of tax returns. Due to Mitch's new scheme, he is able to retain his law license, maintain his life in Boston and save his marriage. 

How do I feel about the ending? I loved it. I much preferred it over Grisham's ending. I found it original and very clever. Bendini, Lambert & Locke still ended up destroyed, thanks to Mitch's exposure of its overbilling scheme. I also enjoyed the fact that Mitch not only managed to get $750,000 from the F.B.I. for Ray to enjoy, but also force the agency to work in bringing down the firm. When Mitch had his final confrontations with both the Morolto brothers inside their hotel room and Agent Tarrance, I could not help but express my pleasure of this turnout with a wide smile.

There were other aspects of the "THE FIRM"'s plot that I really enjoyed. The movie also proved to be a real thriller. This was especially apparent in scenes that featured Mitch's attempts to evade the firm's murderous goons; along with Abby and the late Eddie Lomax's secretary, Tammy Hemphill's attempts to distract the pleasure seeking Avery and copy the firm's more important files in the Caymans. But the movie also featured some outstanding dramatic scenes. The ones that usually came to mind are F.B.I. Director Voyles' revelation of the firm's true nature; Mitch and Avery's meeting with one of the latter's clients in the Caymans; Mitch reveals the firm's true nature to Abby; Eddie Lomax's confrontation with two of the firm's goons; Mitch and Abby's confrontation over his brief affair in the Caymans; Mitch's meeting with with Morolto brothers (which I found very satisfying) and the McDeeres' reconciliation near the movie's end. 

But it is not just the plot and especially its ending that gave me pleasure. I thought John Seale's photography for the movie was top notch. I was especially impressed by his photography in Memphis, Tennessee; Washington, D.C.; and the Cayman Islands. I also thought Fredric and Wiliams Steinkamp's editing was impressive, as well. I was especially impressed with their work in one minor and one major sequence - Mitch's revelation about the firm's true nature to Abby and Mitch being chased all over downtown Memphis by the firm's goons. But if there is one technical aspect about the"THE FIRM" that really impressed me, it was Dave Grusin's score. I thought it was outstanding. It is one of the few scores that seemed to blend perfectly with a movie's plot and setting. Grusin earned an Academy Award nomination for his work, but lost to John Williams' score for "SCHINDLER'S LIST". A part of me wishes that Grusin and Williams had shared that Best Original Score Oscar . . . or Grusin had walked away with the award.

"THE FIRM" also had the good luck to possess a superb cast. All of the performers went far and beyond to give first-class performances. Some of the supporting performances that I found memorable came from Tobin Bell and Dean Norris, who portrayed two of the firm's hitmen; Terry Kinney as Lamar Quinn, one of the firm's younger attorneys; Barbara Garrick as Lamar's wife, Kay; Jerry Hardin as Royce McKnight, one of the firm's senior partners; Sullivan Walker, who portrayed a Cayman scuba diving businessman and one of Mitch's allies; talent agent/promoter Jerry Weintraub as questionable businessman Sonny Capps; Karina Lombard, who portrayed the young prostitute that seduces Mitch; Lou Walker as Mitch's disgruntled client Frank Mulholland; and Margo Martindale as Mitch's secretary Nina Huff.

The movie also featured some really memorable performances from the likes of Hal Holbrook, who gave a subtle performance as the firm's soft-spoken senior partner, Oliver Lambert; Ed Harris, who I thought was entertaining as the rambunctious F.B.I. Agent Wayne Tarrance; Steven Hill, who struck me as rather intimidating as the F.B.I. Director F. Denton Voyles; a very entertaining Gary Busey as Little Rock private detective Eddie Lomax; David Strathairn, who skillfully projected a mixture of charm and borderline despair in his portrayal of Ray McDeere, Mitch's convict brother; and Wilford Brimley, whose portrayal of Bill Devasher, the firm's leading thug, struck me as a very interesting mixture of homespun wisdom and insidious thuggery. Of course, there was Holly Hunter, who gave a very charismatic and Oscar nominated performance as Tammy Hemphill, Eddie's secretary and Mitch's ally. 

However, for me, the heart and soul of "THE FIRM" were its three leads - Tom Cruise, Jeanne Tripplehorn and Gene Hackman. Well, the movie's real lead was Cruise, who gave a mesmerizing performance as Mitch McDeere, the young attorney, who found himself at the center of a struggle between the F.B.I. and Bendini, Lambert & Locke. I almost found myself saying that Cruise's performance was an early sign of his long-lasting fame as an actor . . . until I remembered that he had already been successful for a decade by the time he starred in "THE FIRM". For an actor that was barely thirty at the time, he more than held his own with a group of older and very talented actors. He also did a great job in carrying the movie on his shoulders. I must be honest . . . I have not seen Jeanne Tripplehorn in many movies. In fact, I have only seen her in less than four. But I was very impressed by her quiet, yet strong and elegant performance as Abby McDeere, Mitch's well-born wife who was the first to sense something odd about the firm. What I especially liked about Tripplehorn's performance is that she was not merely reduced to be Cruise's side ornament. She portrayed Abby as a fully realized character with her own character arc. If I had to give an award for the best performance in "THE FIRM", I would hand it over to Gene Hackman, who portrayed Mitch's alcoholic mentor and one of the firm's senior partners, Avery Tolar. I am surprised that Hackman was never given an Oscar nomination for his performance, for he truly deserved it. I thought he was excellent as the sardonic Avery, who used wit and an easy-going manner to hide a world-weary demeanor and corruption that had more or less crushed his spirit. It was a very fascinating performance to watch.

One would notice that I have yet to say one thing negative about "THE FIRM". Well, I do have one complaint. Ironically, that complaint centered around the film's performances. Wait . . . did I not just praise nearly all of the performances to the sky? Yes, I did. And the cast was fantastic. But . . . there were moments in the film in which most of the major cast members have this penchant of making mind-blowing comments with an offhand casualness that struck me as forced. False. And if most of the cast were making this mistake, I have only one person to blame . . . director Sydney Pollack. I really wish he had not clung to this forced casual style of acting. I usually find it in a Steven Spielberg movie and quite frankly, I do not like it. I have never liked it in any of the Spielberg movies I have seen . . . and I did not like it in this film.

Aside from that one complaint, I found "THE FIRM" very satisfying. Who am I kidding? I love "THE FIRM". It is my favorite adaptation of a Grisham novel. It is also one of my favorite movies from the 1990s and after two decades, it has managed to hold up very well. And one has to thank John Grisham's excellent novel; David Rabe, Robert Towne and David Rayfiel's adaptation; and a superb cast led by the always talented Tom Cruise.

"THE FIRM" (1993) Photo Gallery

Below are images from "THE FIRM", the 1993 adaptation of John Grisham's 1991 novel. Directed by Sydney Pollack, the movie starred Tom Cruise: 


"THE FIRM" (1993) Photo Gallery