Genres

Visitors Review

Sharonwebber 2013-04-20 01:54:17

Great Film

I had the pleasure of seeing this movie at the Edinburgh Film Festival.While I do not think it will be very popular, for those who like moviesthat are a little unusual, this one is for you. The pacing, the music,the lighting is all unusual and terrific. The director Noah Buschelspoke after the film and said he was trying to make a noir whereeverything happened in very ordinary, everyday ways. A "boring noir" iswhat he called it. In other words, the movie is so low-key that itbecomes almost a different genre than noir.But the movie is by no means some kind of abstract experiment. It hadme crying hard at the end of the movie. The credit goes to Buschel andMichael Shannon. Shannon breaks through to another level in this movie,adding a sweetness that I hadn't seen in him before.Heartbreaking stuff.

2013-04-19 09:31:10

Pee-u

I grow weary of this kind of gimmicky approach to art, industry and political illusion thrust upon us as cool or intelligent cultural currency. Give something a relationship somehow to something else and it becomes equal to it. What nonsense! Let a creation stand on it's on.This film is irksome, pretentious fiddle faddle and little more. I knew the drudge by the sound of a grotesques score crawling under my skin with the menu. Who cares whether it's homage-ish or not? I wasn't able to endure but 5 minutes of it before leaping to the eject and purging my soul with a bowl of organic ice cream.

picknpen 2013-04-03 16:13:27

Like an awkward wine with an excellent aftertaste

There is only one spoiler for this movie, and it lies in thefundamental reason for its existence. This is not a noir. I can see howthe mistake can be made, due to its laconic style, but there are fairlyrigid genre rules which The Missing Person simply does not meet. I keptwaiting for the noir to develop, and became impatient until I realizedit never would. Shannon's performance, along with the feel and the toneof the film kept me involved during the rough spots (and there are afew). This movie is about one thing: theme. To me, the meandering inthe early narrative mirrors the disconnected nature of the protagonist:lost and adrift, sleepwalking through the job, mired in his own drunkenalienation.The plot is often clumsy, and the story might have been told better attimes, but when you spin through it all, including the almostunbearable chunk of exposition in the NY apartment where Gus and Rosowflesh out the plot machinations, you reach the undeniably powerfulrealization that this movie is about dealing with life-crushing loss.The question I entertained through it all was: who is the missingperson? Initially, it was Fullmer, then Rosow's wife, but ultimately,it was Rosow himself.Not a perfect film by any means, but the final impact redeems it fromall the tangential trivialities one has to sort through on the way.Reminded me (in that way) of The Big Kahuna: frustrating at times, butthe ultimate payoff makes everything worthwhile.

tieman64 2013-04-03 03:18:42

The Flitcraft Parable meets New York Movie

Michael Shannon has a face built for noir, but writer/director NoahBuschel doesn't exploit it well enough in "The Missing Person". Thefilm's a neo-noir, but slack pacing, amateurish dialogue, unnecessarynods to 9/11 and a low budget hamper things.Still, the overall arc of Bushchel's screenplay is very interesting. Itstars Shannon as John Rosow, a hard-drinking, hard-boiled (is there anyother?) private investigator who's tasked with trailing a man namedJohn Fullmer. Here's the interesting part: Rosow learns that Fullmerhas been both a "missing person" and presumed dead for many years.Though Rosow is tasked with "bringing in" Fullmer so that he may bereunited with his family, he opts against it. Better to let Fullmerlive peacefully in his newly fabricated life. This reprieve echoesRosow's own private demons, which he too must "let go of" if he hopesto "build a new life". The film suggests that Roscow's evocative ofancient noir gum-shoes precisely because he is always caught "out oftime", locked into dwelling about a past that keeps on scarring.The film contains several visual allusions to and recreations of EdwardHopper's "New York Movie", an oil-on-canvas painting from 1939. WhyHopper? Hopper's proved a huge influence on noir. His "Nighthawks" wascooked up after reading Ernest Hemingway's noirish "The Killers" (thefilmed version of Hemingway's tale would later be influenced byHopper's paintings), but even two decades before this, long before noirwas even born, Hopper was churning out moody paintings evocative ofearly noirs. His 1921 etching "Night Shadows", for example, looks likean ahead-of-its-time high-angle shot from a Fritz Lang movie and his"House by the Railside" (and numerous early paintings of anonymousapartment blocks and motels) would prove a huge influence onHitchcock's "Psycho". Walter Hill ("The Driver", "Hard Times") and WimWenders ("Hammet", "Paris Texas", "The American Friend", "The End ofViolence") would openly consult Hopper's work when filming theaforementioned films.So Bushchel's nod to Hopper is no surprise. What's surprising is hischoice of "New York Movie". This particular painting consists of amovie usherette (blonde, bosomy; a typical noir gal) leaning against acinema wall. The painting is then split roughly in half such that itsleft side is bathed in a darkness which offers only glimpses ofaudience members and a murky cinema screen, upon which escapist,fantasy-like rolling hills are projected. Meanwhile, the painting'sright half serves as the usherette's own mind-space, well-lit, withpassionate red curtains, lamps and a mysterious staircase suggestive ofher "thoughts up there". Despite strong feelings of anonymity,loneliness, tranquillity and isolation, you sense a whirlpool ofthoughts emanating from the usherette. Significantly, the painting isbisected by a phallic pillar, filled with swirling patterns evocativeof nightmarish, half-coalesced thoughts. The pillar almost seems tosignify the dividing point where fantasy is either (or bleeds into)projected and externalised (the cinema screen/object) orinternalised/contemplated (usherette/subject). Rosow seems caught in asimilar dilemma, brooding like the usherette instead of letting go likeHopper's eye-ball zapped audience.The film's narrative is a loose retelling of "The Flitcraft Parable", amoment of digression in Dashiell Hammett's novel "The Maltest Falcon".One of literature's great digressions, the parable involves detectiveSam Spade telling a girl the story of a middle class real estate agentcalled Flitcraft who, after nearly dying, has an existential epiphany.Flitcraft then decides to abandon his wife, kids, large income andperfect American family. "He went just like that," Spade says, "like afist when you open your hand." The irony is that Spade then stumblesupon Flitcraft several years later living a "new life" almost identicalto his "old one". Having wiped the slate clean, Flintcraft thusinadvertently rebuilt that which he was running away from. Men, Spadeimplies, adjust themselves to the world. Spade, however, adjusts theworld to himself. This, of course, is a very Satrean, existentialcommitment. 7.5/10 – Worth one viewing. See "Black Dahlia", "The Big Sleep" and "APrairie Home Companion".

2013-03-20 02:05:08

Classic Noir

This review is from: The Missing Person (DVD) There aren't many movies being made today that I'd give 5 stars to, but this is one. Yet the hero doesn't shoot, stab, or otherwise injure anyone, AND, nothing blows up! Can you imagine? A movie that entertains with its writing, pacing, photography and atmosphere - makes me believe the old Hollywood is not dead, yet.Michael Shannon is perfect in his role as the tortured, boozy detective, and I hope we see him in many more films to come - he's a refreshing change from the Ken-doll standard for current leading men. Missing Person satisfies on many levels, and you'll want to see John Rosow on his next case. Buy this movie!

gradyharp 2013-03-19 12:23:58

A Mood Piece That Uses Old Techniques to Tell a Modern Story

Writer/Director Noah Buschel is a name we will likely recognize more asaudiences who missed the theater release of this very quiet moody piecediscover it on DVD. In many way this story and cinematic recreation ofthe story reminds us of the old dark Bogart mysteries - in tone oftelling, in filming gestures, and in the casting. It is a true 'filmnoir' revealed slowly and insidiously in tones of umber, gray, andwashed out colors so prevalent in the early color films and so additiveto this production. For this viewer it works on every level. Private Detective John Rosow (Michael Shannon in a brilliantlyunderstated performance) is a down and out, alcoholic, internalized andbruised man who is hired to shadow a man from Chicago to Los Angeles.Rosow seems to be easily manipulated by his 'boss' Gus (Papitos) andsidekick Charley (Amy Ryan), but when Rosow reaches Los Angeles hediscovers that the man he is trailing - Harold Fulmer (Frank Wood) - isdelivering a young Mexican boy to one Don Edgar (Yul Vasquez) who seemsto be running an orphanage for lost kids to either sell to adoptingparents or manipulate otherwise. He is sidetracked by an agent LanaCobb (Margaret Colin) but with the help of a taxi driver Hero (JohnVentimiglia) he finally finds his targeted Harold who insists that heis a lost man, a man who only wants to remain missing to help peoplelike the young Mexican who was an unwanted boy to find some degree ofhappiness. Rosow reports his findings, and surprisingly is told thatHarold wife Megan (Linda Emond) will pay a huge sum of money just toretrieve her missing husband. It seems Harold has been missing since9/11, but instead of dying in that explosion Harold escaped and decidedthe world needed help- the only way he felt he could deliver it was toleave behind his wealthy wife and lifestyle and simply do good,anonymous deeds. Rosow meets with Megan, gets the money, but in doingso Rosow must relive the fact that he has lost his wife and world as aresult of 9/11, changing his priorities of how to end his assignment:does he turn over Harold and take the small fortune or does he followhis heart? He does the right thing. Though the story is a strongly told mystery thriller it is first andforemost a story about the loss and disorientation that have paralyzedso many people following 9/11. The beauty of THE MISSING PERSON is themessage that in many ways we are all 'missing persons' now. How weelect to deal with that is the part of the story we individually mustcomplete. Michael Shannon enters the ranks of significant film actorswith this deeply touching role. This is a little film that deserves avery wide audience. Grady Harp

Sundance Girl 2013-03-18 07:25:37

Elegant, Sad, Funny Rumination on Loneliness and Loss

This movie reminded me a bit of James Gray's movies. Simply shot, actordriven, quiet, sincere, and romantic. While "The Missing Person" ismuch more of an art film than "Two Lovers," I left with the samefeeling of having just watched something very personal and very moving.I don't want to give away too much about this movie, but ultimately itis a film about loneliness and being alone. Sound like a downer? It'snot. Michael Shannon delivers his best performance yet as a drunkdetective who likes to crack himself up with bad jokes(he cracked upthe Sundance audience too.) Amy Ryan, Margaret Colin, and a bunch ofother familiar faces provide moments of humor and sadness. Mostly whatimpressed me about "The Missing Person" was that it wasn't hip orclever. And not fancy either. In fact it was almost the opposite ofevery movie I saw at Sundance. It was mostly just good, honestfilm-making . Rare qualities indeed in independent film these days.

2013-03-17 18:10:08

Message movie, but what is the message?

This private eye wants his wife back, but the man he is trailing has a wife who he doesn't want to see again. Get it? This little film is kind of a throw-back to film-noire. The detective is either drunk or hung over through most of the action. A rich woman in NYC, and a brokerage firm, are willing to pay $500,000 to track down some schmuck who disappeared after 9/11. See, he decided to change his life and now helps needy orphans, or some such. Only he doesn't want to go home again, ever. This is just ok.

Roland E. Zwick 2013-03-17 12:38:11

moody, neo-film noir

In "The Missing Person," Michael Shannon goes the Bogart route, playinga cynical, booze-soaked private detective who's hoping to find a littleredemption in his latest assignment, trailing a man he knows little tonothing about – not even his name. But before long, John discovers thatthere's much more to this man than meets the eye, and that the two ofthem are strangely linked to one another through the tragedy of 9/11.In a way, each of them is a "missing person," one in a literal and onein a figurative sense. Indeed, the best thing about "The MissingPerson" is that just as you think the movie is about one thing, itturns out to be about something else altogether.This moody, bluesy, boozy movie, written and directed by Noah Buscheland co-starring Amy Adams, is deliberate in its pacing and borderlinepretentious in style, with characters who speak in clipped phrases,uttering half-articulated thoughts and hardboiled wisecracks as thedetails of the story spin themselves out. It may not be for everytaste, but the movie hauntingly captures the different but equallyintense responses people can have to trauma and loss.

msroz 2013-03-16 22:36:14

Private eye Michael Shannon follows Frank Wood to California and brings him back to New York City

"The Missing Person" is a neo-noir. In classic noirs, the protagonistquite often is in a "dark corner" battling unknown forces, or has beenscarred by some events like wartime experiences, or has experiencedloss of someone or has had his worldview shaken, or suffers amnesia.The psychology of the embattled hero is a thematic focus. This hascarried over into neo-noir, where sometimes the hero is virtually mador schizoid or searching for himself, his knowledge base having beencompromised."The Missing Person" carries echoes of many of these psychological andemotional states. Michael Shannon's private detective is heavy intodrink, painfully so. One has to feel sorry for how much pain he is inand how he looks, speaks and carries himself. His problem is that helost his wife in the 9/11 catastrophe, and he hasn't gotten over it.So, as in many classic noirs, there is a scarring event.The story occurs in 2009, but much of it physically is as in the 1940s,including the train ride to California. Unlike most noirs, there is noviolence, no gunplay, no big fights, and only one scene where thethreat of violence appears. Shannon pursues his work in a very mundaneway. He accomplishes what he has to by using psychology, money, fibsand some wit. The story doesn't have all that much action. It is more acharacter study of Shannon.He has been commissioned to follow Frank Wood to California andphotograph him. Then his job expands to bringing him back to his wife,whom he has not seen since 9/11, when he went missing. Throughout allthis, he is in the dark. Only bit by bit does he figure out who theprincipals are and what they want, and some corruption over money orinsurance or compensation proceeds from 9/11 is involved.Wood has left his wife so as to rescue young boys from the clutches ofevil others. It is a Christian kind of conversion that entailsabandoning his old life, ways and wife. Shannon will be paid $500,000for returning him to his wife, not something Wood desires. Shannonthreatens him with mayhem and arrest unless he returns. But Shannonhasn't fully made up his mind what to do. The tradition of noirdetectives makes quite clear what he will do. He cannot impose his ownvalues, which emphasize his own lost mate, above the different valuesof this man who is imposing a loss on his mate.Shannon's agonizing character and the production design of the movieare its strong points. Its weak points are that it is slow gettinggoing and is rather devoid of action. I for one was not especiallydrawn into the loss-plights of the main characters. The noir andmystery aspects seemed to me to predominate. I don't think that thestory we saw on the screen was rich enough to explore the theme of lossor the missing person and generate the requisite sympathy.The Thelonious Monk music accompanying the credits is perfect, but Iknow this rendition being a fan of his. If the rest of the score hadcome up to that high mark, it would have added a great deal to themovie. Unfortunately, this was not the case.

2013-03-14 17:58:45

Don't write this one off too soon

The Missing Person is the only movie I've ever seen that transforms itself for a pretty low-grade film noir caricature into a solid and even uplifting story of tragedy followed by redemption with just a few well-placed, finely wrought scenes that could have easily gone in a hopelessly morbid direction. Michael Shannon is a former cop, now a private eye who lives on whiskey and cigarettes. Most of the time he looks and acts the part of a guy who has touched bottom and stuck there. We can only wonder why anyone with resources would hire him to locate a missing child. As Shannon goes from coast to coast in search of the lost kid, however, he shows us that drunk or sober, badly disheveled or more or less together, he's a lot smarter than we expected. If we knew him and his still clouded history, he's the guy we'd want searching for out lost child.Throughout most of The Missing Person, the ambience provided by a grossly exaggerated art deco physical setting adds credibility to the noir nature of the movie. There seems to be no way that Shannon's character, even if he is smarter than we had thought, could salvage much of anything from his hopelessly dissolute life. I never suspected, not even for an instant, that we were being set up to have recent American history provide a totally unexpected source of really quite believable explanation and redemption. Shannon's character is equally oblivious to the prospect of recovering hope and purpose.When all is said and done, we come to realize that Shannon's self-mortifying way of living makes more sense than we had expected. We also learn that he can recognize moral recovery in others, and though inconsistent with his pecuniary interests, do the right thing and benefit thereby.This is a good movie, but it's got to be watched from start to finish. About half way through, I was ready to turn it off as a really stupid effort to produce an exaggerated take on '50's style film noir for no particular reason. Michael Shannon is a very good actor who plays his role to perfection in a movie that reminds us that until we understand the full context, we are likely to misjudge and misinterpret people and events in our social world.

2013-03-14 10:28:40

the noir the merrier

What director Noah Buschel has concocted with "The Missing Person" isto take a genre and fine tune it with touches that, while original,ultimately pay homage to, and even nourish, noir.What he has done,too, is set up any number of movies he might want tomake with the masterly Michael Shannon as private eye John Rosow; andre-recruit, too, the saucily effective Amy Ryan.This moody artwork about finding a mysteriously but voluntary missingperson has all sorts of twists and turns, none predictable, as itweaves its way through the dark.That Shannon plays roles Bogart feasted on is all too true. but it isthe rugged countenance of Mitchum that he more facilely brings to mind. Shannon,so powerful in the film "Revolutionary Road" and then HBO'sraunchy and real "Boardwalk Empire" series, and yet again in the rockfilm "The Runaways," is special, indeed. His screen effect iscompelling,mesmerizing.All we need now is a script and the word "Action!"

2013-02-06 19:38:06

Why did The Missing Person, go missing at the box office?

This review is from: The Missing Person (Amazon Instant Video) Having been through a recent personal tragedy, losing my beloved wife suddenly and unexpectedly, I found myself attached to lead character John Rosow (Michael Shannon) perhaps more than the average viewer. No doubt, my review is slanted based upon my own circumstances. However, after giving it a lot of thought, I do believe I would have rated this movie highly regardless. The movie is well acted by the main characters, Rosow, Miss Charley (Amy Ryan), and Harold Fulmer (Frank Wood). Rosow's character is easily discerned in the first scene. He's a hard luck, alcoholic, demon filled, shell of a man, with one big secret the viewer learns the depth of, throughout the movie. He is searching for some semblance of meaning for whatever remains of his life. You know this, without further explanation after the scene ends. However, getting to know him in depth, as the movie plugs along (which was/is my only criticism...it starts slow) is the movie within the movie. As the script unfolds, we the viewer, begin to unravel a very complex, emotionally destroyed man, whose suffering is unending and well acted, throughout. Shannon does an incredible job with physical acting, as well as line delivery. The story unfolds with a pace that probably leaves, the action adventure junkie, impatient. I am so thankful for indie film directors and producers who are still willing to spend money on movies that require viewer emotion and self-interpretation of character, as acted. Amy Ryan, is superb. Her role is fleeting throughout, but, she makes good use of every word she is scripted, and her mannerisms are outstanding. There is a scene in a limousine, towards the end of the flick, that is absolutely classic. It reveals much about her, her character, and is a turning point for the viewer, during final analysis and movie conclusion. Harold Fulmer, the second of many lost souls in TMP, is a pathetic, coward of a man. His actions throughout the movie, are predictable, but, in the end, sympathy for him, is acceptably understandable. This movie will never make a splash and probably didn't make a lot of money. But, if you find yourself on a rainy winter night, it's worth a bowl of popcorn, a box of jordan almonds, perhaps a vodka martini of your own, and I hope, someone to share with you. 4 of 5 stars. Only criticism again, pacing was just a tad slow.

moonspinner55 2013-02-06 06:56:07

Deliberately weary modern noir...at times quite arresting, and with a terrific lead performance

Michael Shannon is one of the finest new character actors working infilms today; his performance here as a private investigator from NewYork, hired to trail a middle-aged man from Chicago to Los Angeles bytrain, is the centerpiece of "The Missing Person"...and is very nearlythe entire show. Writer-director Noah Buschel was probably hoping tomodernize the old private eye clichés (including booze, broads, andblaring saxophones on the soundtrack), but his movie doesn't reallystart cooking for at least a quarter of an hour into the proceedings.Buschel's pacing is deliberately slow, and Shannon's John Rosow isintentionally beleaguered and burnt-out, yet there's no reason to be sopoky with this narrative (even Bogie livened up earlier on one of hiscases). The film is well-produced and shot, though it runs the risk oflosing viewers before it starts to take shape. Once it does, it becomesa rather fascinating throwback, its scenario seesawing between the oldand new--like Philip Marlowe in the cell-phone era. **1/2 from ****

Karl-Heinz Hoffmann 2012-12-21 07:02:49

Is there a right choice?

Life is often far more complicated than a choice between what we thinkit's right or wrong. There are so many variables in the game of living,that even after the consequences of the actions we are unable toevaluate the results.Once again, Michael Shannon surprises us with an extraordinaryinterpretation of a dense character. The narrative is linear, but thepieces of the puzzle are put together in the right place and time.Intense darkness and light, irony, sadness, brief fun, every ingredientturns this cocktail into an extraordinary beverage with an exquisitetaste.Make no mistake, this is a superior film.

e-swords 2012-12-20 07:54:18

Powerful Art Film

There is a user comment here that mentions this film as an attempt atclassical noir. Not so. It is an art film with surface elements of thenoir genre. Probably it would be better off playing at museum thanmovie theater. At any rate, if you like David Lynch and Robert Frankand Andy Warhol films-- you will love this movie. Michael Shannondelivers his best performance. Finally he is romantic, leading man. Themusic is amazing. And Joe Lovano shows up to blow sax. The golden,desaturated look fits perfectly with the depressed character andhungover feeling. The best scene has glow in the dark sunglasses in adark trunk. I wont say anything else.

tieman64 2012-12-19 03:08:31

The Flitcraft Parable meets New York Movie

Michael Shannon has a face built for noir, but writer/director NoahBuschel doesn't exploit it well enough in "The Missing Person". Thefilm's a neo-noir, but slack pacing, amateurish dialogue, unnecessarynods to 9/11 and a low budget hamper things.Still, the overall arc of Bushchel's screenplay is very interesting. Itstars Shannon as John Rosow, a hard-drinking, hard-boiled (is there anyother?) private investigator who's tasked with trailing a man namedJohn Fullmer. Here's the interesting part: Rosow learns that Fullmerhas been both a "missing person" and presumed dead for many years.Though Rosow is tasked with "bringing in" Fullmer so that he may bereunited with his family, he opts against it. Better to let Fullmerlive peacefully in his newly fabricated life. This reprieve echoesRosow's own private demons, which he too must "let go of" if he hopesto "build a new life". The film suggests that Roscow's evocative ofancient noir gum-shoes precisely because he is always caught "out oftime", locked into dwelling about a past that keeps on scarring.The film contains several visual allusions to and recreations of EdwardHopper's "New York Movie", an oil-on-canvas painting from 1939. WhyHopper? Hopper's proved a huge influence on noir. His "Nighthawks" wascooked up after reading Ernest Hemingway's noirish story, "The Killers"(the filmed version of Hemingway's tale would later be influenced byHopper's paintings), but even two decades before this, long before noirwas the norm, Hopper was churning out moody paintings evocative ofnoir. His 1921 etching "Night Shadows" looks like an ahead-of-its-timehigh-angle shot from a Fritz Lang movie and his "House by the Railside"(and numerous early paintings of anonymous apartment blocks and motels)would prove a huge influence on Hitchcock's "Psycho". Walter Hill ("TheDriver", "Hard Times") and Wim Wenders ("Hammet", "Paris Texas", "TheAmerican Friend", "The End of Violence") would openly consult Hopper'swork when filming the aforementioned films.So Bushchel's nod to Hopper is no surprise. What's surprising is hischoice of "New York Movie". This particular painting consists of amovie usherette (blonde, bosomy; a typical noir gal) leaning against acinema wall. The painting is then split roughly in half such that itsleft side is bathed in a darkness which offers only glimpses ofaudience members and a cinema screen, upon which escapist, fantasy-likerolling hills are projected. Meanwhile, the painting's right halfserves as the usherette's own mind-space, well-lit, with passionate redcurtains, lamps and a mysterious staircase suggestive of her "thoughtsup there". Despite strong feelings of anonymity, loneliness,tranquillity and isolation, you sense a whirlpool of thoughts emanatingfrom the usherette. Significantly, the painting is bisected by aphallic pillar, filled with swirling patterns evocative of nightmarish,half-coalesced thoughts. The pillar almost seems to signify asubject/object dichotomy, the dividing point where fantasy is either(or bleeds into) projected and externalised (the cinema screen) orinternalised/contemplated (usherette). Rosow seems caught in a similardilemma, brooding like the usherette instead of letting go likeHopper's eye-ball zapped audience.The film's narrative is a loose retelling of "The Flitcraft Parable", amoment of digression in Dashiell Hammett's novel "The Maltest Falcon".One of literature's great digressions, the parable involves detectiveSam Spade telling a girl the story of a middle class real estate agentcalled Flitcraft who, after nearly dying, has an existential epiphany.Flitcraft then decides to abandon his wife, kids, large income andperfect American family. "He went like that," Spade says, "like a fistwhen you open your hand." The irony is that Spade then stumbles uponFlitcraft several years later living an almost identical life. Havingwiped the slate clean, Flintcraft thus inadvertently rebuilt that whichhe was running away from. Men, Spade implies, adjust themselves to theworld. Spade, however, adjusts the world to himself. This, of course,is a very Satrean, existential commitment. 7.5/10 – Worth one viewing. See "Black Dahlia", "The Big Sleep" and "APrairie Home Companion".

wmjaho 2012-12-18 12:22:54

A Classic Film Noir that's not quite a classic

The last great film noir was A Touch of Evil, made 51 years ago. Butthe genre has never lost its allure and every now and then a filmmakerattempts a neo-noir, some succeeding famously (Chinatown, Body Heat)but most lacking the soul of the classic noirs from the 40's and 50's. In The Missing Person, director Noah Buschel tries valiantly torecreate the original genre. First, the classic protagonist: Hot starMichael Shannon (Reservation Road) plays John Rosow, a chain-smoking,gin-soaked private detective living in a run-down apartment next to theChicago L. Then the familiar set-up. A stranger calls and offers waytoo much money to do what sounds like a simple job. And finally, thetwisted tale: Rosow, a former street-smart New York cop, smellssomething rotten, but is spurred by the money and the conviction thathe will be able to outplay the other players.Shannon makes an intriguing protagonist, grizzled and degenerate butwith just enough heart and humanity to make him sympathetic.Unfortunately, the weight of the movie falls entirely on his shoulders.The plot winds its way, with a steady stream of surprises andrevelations, but none of them particularly compelling. The secondarycharacters, especially the perfunctory love-interest, areunderdeveloped. And so, despite Shannon's heroic efforts, the filmstumbles, and ultimately is tripped up by incredulity and apathy.Despite these criticisms, film noir lovers will still find enough toenjoy to make the movie worth watching. Just don't expect Orson Welles.

2012-12-16 21:25:04

Very unique, oddly low-key noir

I'm surprised there's only one other review of this film here. It's quite a solid piece of work.Shannon is exceptional as the gumshoe, and director Buschel has a field day both fulfilling and mocking many noir tropes: the film is about a private detective from L.A., there's a scene of L.A. in the rain with neon reflections, the private dick is a heavy drinker, he's non-stop laconic and wise-cracking, he's tortured by a past he won't talk about, and on and on. As a big fan of all things noir (read: unusually honest, in a highly stylized way), I found MP to be both very entertaining and strangely disquieting.There's something a little off about this movie, but in a good way. Just when it seems to be getting typical of the genre, some weird new event will occur and throw everything off kilter. It would be spoilerish to share those events, but suffice to say that they're unexpected and work well. The script is intelligent and concise, while never stooping to either worship or parody of Hammett, Chandler, Cain, or any of the many great films noir of the 40s and 50s. Missing Person is very much its own beast, while paying tribute to one of the great American film and literary genres.A real highlight for me was the scene where they use one of my favorite old doo-wop songs to great effect. Why don't more films use doo-wop? There are so many superb songs waiting to be mined, and the power of the phenomenal singing and melody works to perfection here. I loved that scene; you'll know it when you see it.I'd recommend Missing Person highly to anyone who likes noir in any form, and those who appreciate intelligent writing and direction allied with a truly fine actor. I hope to see plenty more of Shannon; he's a real talent and makes this movie what it is: uniquely satisfying.

2012-12-16 15:08:19

Don't write this one off too soon

The Missing Person is the only movie I've ever seen that transforms itself from a pretty low-grade film noir caricature into a solid and even uplifting story of tragedy followed by redemption with just a few well-placed, finely wrought scenes that could have easily gone in a hopelessly morbid direction. Michael Shannon is a former cop, now a private eye who lives on whiskey and cigarettes. Most of the time he looks and acts the part of a guy who has touched bottom and stuck there. We can only wonder why anyone with resources would hire him to locate a missing child. As Shannon goes from coast to coast in search of the lost kid, however, he shows us that drunk or sober, badly disheveled or more or less together, he's a lot smarter than we expected. If we knew him and his still clouded history, he's the guy we'd want searching for out lost child.Throughout most of The Missing Person, the ambience provided by a grossly exaggerated art deco physical setting adds credibility to the noir nature of the movie. There seems to be no way that Shannon's character, even if he is smarter than we had thought, could salvage much of anything from his hopelessly dissolute life. I never suspected, not even for an instant, that we were being set up to have recent American history provide a totally unexpected source of really quite believable explanation and redemption. Shannon's character is equally oblivious to the prospect of recovering hope and purpose.When all is said and done, we come to realize that Shannon's self-mortifying way of living makes more sense than we had expected. We also learn that he can recognize moral recovery in others, and though inconsistent with his pecuniary interests, do the right thing and benefit thereby.This is a good movie, but it's got to be watched from start to finish. About half way through, I was ready to turn it off as a really stupid effort to produce an exaggerated take on '50's style film noir for no particular reason. Michael Shannon is a very good actor who plays his role to perfection in a movie that reminds us that until we understand the full context, we are likely to misjudge and misinterpret people and events in our social world.