© 2015 by James Clark
Most crime stories committed to film are suffused with satisfaction that they’ll give the audience technology-based thrills along lines of impressive actors, “Keeping them on the edge of their seats” about how it all will end. They might also factor into the market prediction their having scared the shit out of hard-pressed contemporaries apropos of society becoming an ever more vicious battlefield. What else could an ambitious filmmaker in the “action” field ask for?
If we keep our eyes wide open while watching Michael Mann’s crime story, Collateral (2004), we might surprise ourselves that the abovementioned formula admits of being surpassed a million times over. However, not only the practitioners lend themselves to that dead weight of old timey fun, but also the audience. Departures on the screen from lazy fun can, in the buttery hands of the popcorn inactivists, be readily fixed as akin to Superbowl ads and attributed to the dime-a-dozen charms of movie stars. Our account of the uniqueness of such a film as we have in our face right now depends upon those few viewers who can take to heart its voluminous concentration upon registers of displacement and distress far beyond anything mainstream experience provides. So while Mann would be quite happy to bank the funds coming from customers who twist his work beyond recognition (the DVD supplement fascinatingly contributing to the confusion)—I recall overhearing a viewer in an art museum getting clear that the painting in front of him was on the order of “Untilted”—there is about his enterprise a clandestine range of rewards generously out there for those whose assimilative energies have not been beaten down. (more…)