Neither is prolific, but the creation of a movie that will grace DVD rental stores down the years is a one of time, effort and respect. Collateral is indeed a movie that transcends the norm and epitomises the work of these two moviemakers.
Besides Vincent and Max, there is a third character consciously created by Mann. This is of course the city of Los Angeles. The evidence of this is within the opening scenes where we glide gracefully above the city soaking in the vibrant life of the city as if it were a living organism. The silky ambiance has an undercurrent of a city coursing with life and an unquestionable hint of danger. Then we meet up with Max - a true part of the city. What better way to reveal the character of the city than through the eyes a taxi cab driver. It is they who see every corner of the city and meet its people from every walk of life. They are an innate part of the city, a direct tap into its lifeblood.
Another scene designed for the character of the city is where Vincent and Max are drawn in by the mystical image of a wolf crossing the road in front of their cab. The danger of the city reveals itself. It is the true predator and master of its domain. Although the city does not overwhelm the lead characters, this scene shows what strength the city has and can bewilder and excite the others. This is indeed within the fabric of the story, but one cannot help but notice that Mann has put his own personal experience and impression of the city that captures his imagination.
The city is further revealed when we are taken to a seedy suburb, a jazz nightclub, a discotheque and finally an upmarket apartment block. The diversity of LA is exposed and gives our characters numerous settings with different obstacles and characters. All this with a character who is the very fabric of the city Max, and one that hates the city Vincent. The richness and diversity of the characters thus mirroring the city. The more they interact the more we learn about the city.
The character interaction between Vincent and Max is reminiscent of the characters of the 80's movie 'The Hitcher'. There is a strange connection between the two which is noticeable in the final scene where Max seems moved by Vincent's most feared death. The differences between the characters seem to lock them together on their perilous journey and which will ultimately result in the demise of one of them.
The casting is not too dissimilar to the type of thing that Martin Scorsese would do. He is a master of conflicting images and messages. Here we have the two lead characters played by actors who would be synonymous with vastly different characters. Tom Cruise is usually the hero and more often than not capitalises on his looks. Vincent is, however, the villain who wears a non descript wardrobe and is wash born grey. Completely atypical, thus a new challenge for Cruise. Jamie Fox is a natural typecast for a comedic character, but here he is a mundane, unimposing, melt into the background kind of guy. Sometimes this type of casting, especially for the main star can be a mistake. However, here it is perfect for the story as it accentuates the essence of the city which is one of beauty and danger, not all what it seems and what we know. It also commits the actors to concentrate on their acting as they are outside their comfort zone and under the microscope. Their performances as a consequence are virtually flawless. In fact, their unnatural circumstances became their natural acting circumstances. We normally expect Cruise to deliver, no matter what the character and thus the unknown factor was Max. He was even more under the spotlight and he delivered. Jamie Fox has now made his mark.
The supporting cast were all good, the most noticeable of which was Jade Pinkett Smith. She is the last target of Vincent's and her apartment block is the setting for the climatic scenes. It is her character that brings Max out of his own self preservation instinct and drives him to take on Vincent at his own game. The frailty of Pinkett - Smith adds to the danger and gives Vincent the edge. This creates a greater obstacle for our hero this providing greater tension for the audience.
High profile movies with high profile personalities always invite a wide variety of opinions. This is a natural consequence of expectation. The main problem area seemed to be the extent of exaggeration of some scenes. This is of course true. The suspension of disbelief is stretched a bit, especially in the final shoot out scene and the fact that Vincent sticks with Max despite the obvious risk to himself. Also Vincent seems to have no fear of exposure in public as he executes his targets in full view. For me, it was not too distracting and did not adversely affect the story. After all, we do not go to the movies to see ordinary people in ordinary situations. The characters we wish to see are larger than life and transcend our normal limitations. There is a line to this, but I believe Mann flirted with this line, but did not cross it.
A scene that raised the movie was the nightclub scene. Here we are mesmerised by a series of fleeting images of wild gunfire and multiple targets and villains. We have the cops, the target and the gang out to nail Vincent if the job turned sour. In between all this is the crowded and the swirling lights, glass and smoke. It created a chaotic, sporadic scene where the outcome for the lead characters seemed to be out of bounds. The pace was raised and the stakes were higher. Our characters were now riding a crest and never faltered from here.
When Max first meets Vincent, he openly proclaims his dislike for the city and particularly notes the apathy and the loss of identity within its walls. He had heard a story where someone died on a train and was not noticed for several blocks. In the end Vincent dies alone on the train as it carries on along its route. The villain had met with a worthy end. It was the death he most feared in the city he most hated.
Not intended to be one of the blockbusters of the year, it is nevertheless one of the strongest movies of the year. There is obvious attention to detail here, particularly with the casting and the scenic views of the city. The audience is suitably drawn into the world of LA with superb acting and artful directing. Mann does not get carried away with the portrayal of the city and blends it in with the characters providing a tense background for the action. It is deservedly highly rated and should leave the audience feeling that were entertained.
Besides Vincent and Max, there is a third character consciously created by Mann. This is of course the city of Los Angeles. The evidence of this is within the opening scenes where we glide gracefully above the city soaking in the vibrant life of the city as if it were a living organism. The silky ambiance has an undercurrent of a city coursing with life and an unquestionable hint of danger. Then we meet up with Max - a true part of the city. What better way to reveal the character of the city than through the eyes a taxi cab driver. It is they who see every corner of the city and meet its people from every walk of life. They are an innate part of the city, a direct tap into its lifeblood.
Another scene designed for the character of the city is where Vincent and Max are drawn in by the mystical image of a wolf crossing the road in front of their cab. The danger of the city reveals itself. It is the true predator and master of its domain. Although the city does not overwhelm the lead characters, this scene shows what strength the city has and can bewilder and excite the others. This is indeed within the fabric of the story, but one cannot help but notice that Mann has put his own personal experience and impression of the city that captures his imagination.
The city is further revealed when we are taken to a seedy suburb, a jazz nightclub, a discotheque and finally an upmarket apartment block. The diversity of LA is exposed and gives our characters numerous settings with different obstacles and characters. All this with a character who is the very fabric of the city Max, and one that hates the city Vincent. The richness and diversity of the characters thus mirroring the city. The more they interact the more we learn about the city.
The character interaction between Vincent and Max is reminiscent of the characters of the 80's movie 'The Hitcher'. There is a strange connection between the two which is noticeable in the final scene where Max seems moved by Vincent's most feared death. The differences between the characters seem to lock them together on their perilous journey and which will ultimately result in the demise of one of them.
The casting is not too dissimilar to the type of thing that Martin Scorsese would do. He is a master of conflicting images and messages. Here we have the two lead characters played by actors who would be synonymous with vastly different characters. Tom Cruise is usually the hero and more often than not capitalises on his looks. Vincent is, however, the villain who wears a non descript wardrobe and is wash born grey. Completely atypical, thus a new challenge for Cruise. Jamie Fox is a natural typecast for a comedic character, but here he is a mundane, unimposing, melt into the background kind of guy. Sometimes this type of casting, especially for the main star can be a mistake. However, here it is perfect for the story as it accentuates the essence of the city which is one of beauty and danger, not all what it seems and what we know. It also commits the actors to concentrate on their acting as they are outside their comfort zone and under the microscope. Their performances as a consequence are virtually flawless. In fact, their unnatural circumstances became their natural acting circumstances. We normally expect Cruise to deliver, no matter what the character and thus the unknown factor was Max. He was even more under the spotlight and he delivered. Jamie Fox has now made his mark.
The supporting cast were all good, the most noticeable of which was Jade Pinkett Smith. She is the last target of Vincent's and her apartment block is the setting for the climatic scenes. It is her character that brings Max out of his own self preservation instinct and drives him to take on Vincent at his own game. The frailty of Pinkett - Smith adds to the danger and gives Vincent the edge. This creates a greater obstacle for our hero this providing greater tension for the audience.
High profile movies with high profile personalities always invite a wide variety of opinions. This is a natural consequence of expectation. The main problem area seemed to be the extent of exaggeration of some scenes. This is of course true. The suspension of disbelief is stretched a bit, especially in the final shoot out scene and the fact that Vincent sticks with Max despite the obvious risk to himself. Also Vincent seems to have no fear of exposure in public as he executes his targets in full view. For me, it was not too distracting and did not adversely affect the story. After all, we do not go to the movies to see ordinary people in ordinary situations. The characters we wish to see are larger than life and transcend our normal limitations. There is a line to this, but I believe Mann flirted with this line, but did not cross it.
A scene that raised the movie was the nightclub scene. Here we are mesmerised by a series of fleeting images of wild gunfire and multiple targets and villains. We have the cops, the target and the gang out to nail Vincent if the job turned sour. In between all this is the crowded and the swirling lights, glass and smoke. It created a chaotic, sporadic scene where the outcome for the lead characters seemed to be out of bounds. The pace was raised and the stakes were higher. Our characters were now riding a crest and never faltered from here.
When Max first meets Vincent, he openly proclaims his dislike for the city and particularly notes the apathy and the loss of identity within its walls. He had heard a story where someone died on a train and was not noticed for several blocks. In the end Vincent dies alone on the train as it carries on along its route. The villain had met with a worthy end. It was the death he most feared in the city he most hated.
Not intended to be one of the blockbusters of the year, it is nevertheless one of the strongest movies of the year. There is obvious attention to detail here, particularly with the casting and the scenic views of the city. The audience is suitably drawn into the world of LA with superb acting and artful directing. Mann does not get carried away with the portrayal of the city and blends it in with the characters providing a tense background for the action. It is deservedly highly rated and should leave the audience feeling that were entertained.