After Rian Johnson's stellar directorial debut with the high school-set neo-noir Brick, praises were being sung for a new indie wunderkind. As is typical, the expectations began to rise for his follow up as he spent years working on a comedy con-men caper called The Brothers Bloom, signing stars Adrian Brody, Mark Ruffalo, and Rachel Weisz in the process. When the film finally reached screens in limited release, it was met with a rather cold critical reception, as many didn't expect such a light hearted affair from such a blue and bold cinematic mind. It's sad watching the film become more and more alienated from the mainstream public, as it is the most refreshing alternative to the gaudy blockbuster monstrosities of the summer.
The Brothers Bloom: A Fairy Tale, A Con, A Dance, A Song
The film is a fable of two brothers, Bloom and Stephen, as their early years as orphans traded around foster families is told in a dizzying 7-minute rhyme by narrator Ricky Jay, whose narration of 1999's Magnolia is equally soulful. The brothers find a niche in deceit and learn, after a masterful prank against the "playground bougeois", determine that the greatest con ever is the one where everyone gets what they want, and set out to find fame and fortune . Flash forward to the peak of their careers, where Bloom has lived his life playing roles in the grand facades written by his brother and now wants his own life, free of the life. Stephen counters Bloom's plea with the classic deal of one last job: Penelope Stamp (Rachel Weisz), a millionairess who's lonely upbringing has left her with a wealth of knowledge and a yearning for companionship. And so were off, as the brothers take her on a world-wide loop of faux adventure with a deaf explosives expert (deftly played by Rinko Kikuchi), the con-man equivalent of a character actor (Robbie Coltrane), and their dastardly ex-mentor (Maximilian Schell).
Between the dramatic ploys of Stephen's planning and the unpredictability of Penelope, it's never clear when the con is a con, or who is even in control of the situation. The misdirection thoughout is intensely dramatic, as Johnson leaves much of the details and the stakes of cons unspoken, focusing on the depth of the artisans with the help of exceptionally human performances from the leads, given such quirky characters. Their experience isn't so much surreal as anti-real. They fight with a childish, stubborn nature to live their lives of fancy as they please, lying to themselves and the outside world whenever necessary. Innocent too is the love story that blossoms between Bloom and Penelope. Brody and Weisz embody this first love with passion and euphoria unlike anything since Punch-Drunk Love.
"Your smile is the sun, mon cheri. And for the men, we need the sun." - The Curator (Robbie Coltrane)
The soundtrack is cause for serious exclamation. Director Rian's brother Nathan Johnson assumes scoring duties, as he had done for Brick. Where the previous was a very haunting, minimalist score, he takes a big step up in size and style with Bloom, opting for a big band, jazzed up Eastern European sound, though continuing with what is becoming his signature of ominous trumpet licks. The cinematography is of note for it's classic cinematic visionary style. Taking pages out of books from everyone from F.W. Murnau to Martin Scorsese, it holds interest though many scenes that could have spent a little more time in the editing room.
Because of all the intrigue and deception, the true danger is never really believeable until it is too late, and it leaves a bit more to be desired out of the otherwise synching conclusion of countless recounts of dialogue and plot points. A whimisical trip through a strangely real fantasy, it was far more entertaining than anything else this year, even if it did call for a bit of extra attention.
P.S. Keep your eyes out for cameos from Brick stars Joseph Gordon-Levitt and Nora Zehetner
3.5 out of 4
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