Too many chefs spoil The Score's recipe

Julien R. Fielding

Marlon Brando picks his projects few and far between.

Since 1990, he has appeared in only about six films. Compare that to Robert De Niro, his costar in "The Score." In that same time, he's starred in about 30.

So, when fans learn Brando's back, many are quick to queue.

Few can say this Omaha son has lost his charm or skills. In fact, he's the best reason to see this actor's latest effort, a multi-generational caper film with a twist.

Brando plays Max Baron, a witty fence and employer to thief exceptional Nick Wells (De Niro). Wells, who thinks he is at the top of his game, gets a surprise when one of his burglaries nearly gets messy.

With a solid relationship with stewardess Diane (Angela Bassett) and a successful jazz club to fall back on, Wells begins contemplating retirement. That is, until Baron propositions him with one final, irresistible offer: Work with Jackie Teller (Edward Norton), an inside man, to retrieve a priceless French scepter from the basement vaults of the Montreal customs house and earn $4 million.

Initially, "The Score" comes off as a well-crafted neo-noir film, reminiscent of Michael Mann's "Heat," boasting some exceptional acting.

But there are cracks in the film's veneer, particularly some bad pacing, making it a little too long. Blame that on the "too many chefs" theory. In the end, it took four writers - Daniel E. Taylor, Kario Salem, Lem Dobbs and Scott Marshall Smith, and probably more who didn't get WGA credit - to construct this script. (And, given the fact that the actors were given improvisational privileges, the sad thing is that the best lines probably weren't even scripted.)

Some of the writers have some decent credits. Dobbs wrote the bizarrish "Dark City" and provided Steven Soderberg with "Kafka" and "The Limey."

For better or worse, Smith penned "Men of Honor," the based-on-a-true-story biopic about the first black U.S. Navy diver. And Salem wrote cable films "Don King: Only In America" and "The Rat Pack."

What seems to have gone wrong is that no one was given the task of excising extraneous material, but all were hired to augment it. So, what you get is an extended session of foreplay without a terribly enriching payoff.

The characters talk about and plan the big heist for more than one hour. Then it happens, and it's over before you know what hit you.

Furthermore, De Niro exhibits little vulnerability, so even when his situation seems dire, we know it isn't. That's tremendously bad development on the writers' part, because the central figure never experiences a character arc. He never really changes.

Despite this glaring oversight, the film offers solid performances by Brando and Norton. Brando has a winning personality and some hilarious lines. Too bad he's such a pain in the keister. (It's noted that he referred to Oz as "Miss Piggy" and wouldn't perform if the director was in the room.)

Although he and De Niro costarred in "Godfather," they never shared screen time. In "The Score," they put things to right, finding in each other the perfect complements.

Norton, who never lets you down, even manages to upstage these acting veterans at times, especially when portraying Brian, the handicapped janitor. This actor's due some big time statuettes.

Bassett gets the fluffy role as love interest, and she's neither good nor bad - just kind of there. I'm not sure if Hollywood, or her management, knows what to do with her.

Until "The Score," Oz had refined his directing skills on a number of comedies, including "Bowfinger," "In & Out" and "Housesitter." As his first serious vehicle, "The Score" proves he can recognize and capture some exceptional moments.

With the assistance of cinematographer Rob Hahn, the filmmakers provide a fascinating, fun-to-watch opening. Hahn also creates a shadowy environment for the characters to move around in, despite the fact that the material never fully plunges into a noir jungle of hard-boiled leads, double-crosses, intrigue, leggy dames and a smoking gun. (This is far lighter fare than, say, "Seven," "L.A. Confidential" or "Blade Runner.")

Lending some sophistication to the film is its setting - Montreal. With Brando taking $3 million for a few weeks of work, the filmmakers perhaps could no longer afford Paris. It's a spectacular second, though.

Even with some major flaws, "The Score" contains enough high points to warrant a visit to the local cineplex. After all, Brando isn't getting any younger.

Too many chefs spoil The Score's recipe was originally published in The Daily Nonpareil on 19 July, 2001. © Council Bluffs Daily Nonpareil LLC