Brown's Requiem (1998)

User Rating:

5.8/10   

Director:

Jason Freeland

Writers:

Jason Freeland (written by)
James Ellroy (novel)

Release Date:

3 June 1999 (Netherlands)

Genre:

Crime | Thriller | Mystery | Drama

Tagline:

In L.A., The Law Is Still For Sale.

Plot:

Fritz Brown is an ex-LAPD, recovering alcoholic who now splits his time repossessing cars for a used...

Plot Keywords:

Alcoholic | Murder | Punctuation In Title | Neo Noir | Police Corruption

Awards:

2 wins

Cast

Michael Rooker	...	Fritz Brown
Big Daddy Wayne	...	Leotis McCarver
Jack Wallace	...	Bud Myers
Will Sasso	...	Fat Dog (as William Sasso)
Selma Blair	...	Jane
Harold Gould	...	Solly K
Brion James	...	Cathcart
Kevin Corrigan	...	Walter
Ron Barker	...	Bartender
William Newman	...	Augie
David Labiosa	...	Henry Cruz
Al Rodrigo	...	Sandoval
Lisa Koch	...	Lulu
Barry Newman	...	Jack Skolnick
Lee Weaver	...	Wino

MPAA:

Rated R for violence, nudity and language.

Runtime:

104 min

Country:

USA

Language:

English

Color:

Color

Aspect Ratio:

2.35 : 1

Sound Mix:

Dolby

Certification:

Iceland:16 | Canada:18A (Canadian Home Video rating) | Australia:MA (cable rating) | USA:R

Filming Locations:

Los Angeles, California, USA

Company:

J&T Productions

Movie Connections:

References "Soul Train" (1971)

Soundtrack:

The Dirty Dozens

Excellent, underrated, modern noir

I am amazed that, given the reviews of the film (all apart from two rate the film highly), how this film managed to score so poorly. Indeed, I think it's a huge shame that it didn't get a better cinema release in this country. I only saw it on video.

I thought it was excellent thriller in the noir tradition. There are three standout elements. First, the plot and feel of the film. These are faithful to James Ellroy's book, more so than in the case of LA Confidential. I was amazed how much of the detailed plot was included (and believe me Ellroy plots are detailed!) Secondly, Cynthia Millar's haunting piano score was probably largely responsible for my second viewing of the film. Thirdly, Michael Rooker's performance. I had only ever remembered him as the villain in Sea of Love, a part he played well but not outstandingly. Here, though, his hangdog expression served him excellently. He is a modern Robert Mitchum, born to play noir leads. Actually he's better, Mitchum was too smooth.

Highly recommended. Go see it and give it more deserving marks on the board than it has at the moment. I haven't mentioned Jason Freedland's contribution, but I hope to see more from this talented director, given his superb first attempt.