Published via Ecency

(source: tmdb.org)

Even people who aren’t prone to nostalgia tend to agree that 1960s were one of the most interesting decades in the world’s history. This can apply to the world of cinema which went to profound change the effects of are still felt today. Many modern day film makers were trying, usually without much success, to pay homage to the era. One of the more unusual attempts can be found in The Limey, 1999 crime drama directed by Steven Soderbergh.

The plot is set in contemporary California and begins when Wilson (played by Terence Stamp), professional criminal from England, arrives after serving nine years in prison for armed robbery. Motive for his arrival is deeply personal. His daughter Jenny (played by Melissa George) has died in traffic accident apparently caused by too much alcohol. Wilson knew his daughter too well to believe that she would deliberately get drunk and that, together with details in letter written by her friend Eduardo Roel (played by Luis Guzman) makes him convinced that some kind of foul play was involved. The most obvious clues lead to Jenny’s long time boyfriend Terry Valentine (played by Peter Fonda), old and wealthy music producer who recently tried to improve his financial situation through money laundering deal with some shady people. Valentine, who now lives with Adhara (played by Amelia Heinle), another young girlfriend, doesn’t like Wilson sniffing around so her “security consultant” Jim Avery (played by Barry Newman) hires thugs to stop him. Wilson, in the meantime, meets Elaine (played by Lesley Ann Warren), Jenny’s friend and former acting coach, and receives unexpected help from DEA agents.

The script by Lem Dobbs is a relatively simple revenge tale with slightly “noirish” vibes, not so different from those used in countless low budget exploitation films. What makes The Limey very different is the direction by Steven Soderbergh, one of the most talented Hollywood film makers in past few decades, also known for his work as cinematographer and great sense of style. Soderbergh likes to experiment and this often gives his film an “art” look. In the case of The Limey it is unusual editing by Sarah Flack which switches through various points in time, uses the same dialogues in various scenes and mixes protagonist’s visions with reality. The effect, often described as impressionistic and based on the way people’s memory work, takes a little bit of time for audience to adjust but it isn’t too overwhelming and film can still be appreciated by audience accustomed to more conventional genre films.

What makes this film even more interesting is that Soderbergh clearly pays homage to 1960s and early 1970s cinema by mixing experiments in style with somewhat gritty content, characteristic of the era. He does that also by casting. Two main roles are played by actors that used to be grand icons of 1960s cinema. Before being typecast as villain in 1980s Hollywood production, British actor Terence Stamp was huge international star and also one of the icons of Swinging Sixties London. Same can be said of Peter Fonda, who was one of the great icons of 1960s counterculture in Hollywood; even the character he plays is, to a degree, based on himself. Valentine in the film nostalgically reminisces of 1960s as long gone golden age which he can’t recreate with all his wealth, influence and young women he surrounds with him. Fonda’s character, on the other hand, proves to be pathetic weakling when deprived of small army of paid bodyguards or business advisors.

Terence Stamp, however, still carries the film and provides strong performance in the role of an old, but intelligent, resourceful and mission-oriented man. His heavy use of cockney idioms, which makes him almost incomprehensible to the Americans he meet, is source of humour but also smooths some of the rougher edges of Wilson’s character, namely his ability to murder bunch of people that stand in his way. Wilson’s age is further underlined by flashback scenes that feature younger version of character, again played by Stamp; this is achieved by ingenious editing of scenes of Poor Cow, 1969 crime drama in which Stamp was directed by Ken Loach. The effect of mixing past and present also creates another interesting combination for cinephiles. Cool architecture of sunny Southern California, inhabited by suave and “posh” criminals is confronted by rainy, bleak working class England embodied in protagonist who would wreck their world. As such, The Limey fuses two classic films from many decades ago - Point Blank and Get Carter.

The Limey is an interesting film, but it isn’t perfect. Romantic subplot involving Elaine seems undeveloped and introduced only to conform to Hollywood cliches. The effect is even stronger due to The Limey having very short running time and such unnecessary addition only stands out. Lesley Ann Warren, a very good actress mostly known for comedic roles, does what she can with that thankless role, but her efforts don’t help. On the other hand, even with such flaws, The Limey still represents a very good piece of cinema that should be recommended both to cinephiles and those yearning for old-fashioned genre pieces.

RATING: 7/10 (+++)