Dennis Farina

by Tony Dayoub

Perhaps Dennis Farina was best known for Law & Order where he played the sartorially gifted police detective Joe Fontana for two seasons. But Farina didn't just play policemen on TV. He was the real deal. A former Chicago cop, his streetwise affect led him to be typecast as either cop or thug. And his conviviality frequently made him ideal for filling the role of comic relief. But there was a dark streak that ran through Farina that was often untapped. Rarely was his ability to lapse into cool callousness utilized best than when he worked for the director who discovered him, Michael Mann.

The Chicago Way: Crime Story back on DVD for its 25th Anniversary

by Tony Dayoub

Clockwise from top: Stephen Lang (as David Abrams), Anthony Denison (as Ray Luca), Darlanne Fluegel (as Julie Torello), Dennis Farina (as Lt. Mike Torello)

On September 18, 1986, director Michael Mann (Heat) made good on his promising career in TV and film with the debut of his new period cops-and-robbers saga, Crime Story. Not only did Crime Story’s feature-quality production design live up to that of its TV antecedent, Mann’s stylish Miami Vice; Crime Story also fulfilled its aim to present a morally complex world in which it was often difficult to tell those who broke the law from those who upheld it. Set in 1963, the show explores the multiple facets of a young hood’s rise to power in the Chicago Mob through the viewpoints of its three protagonists. Ray Luca (Anthony Denison) is the pompadoured criminal quickly ascending the ranks of the “Outfit.” Lieutenant Mike Torello (Dennis Farina) is the cop in charge of Chicago’s Major Crime Unit (or MCU) who bends the law in the service of justice. And David Abrams (Stephen Lang) is the idealistic young lawyer caught between the two men and their obsessive cat-and-mouse game. Today, a little over 25 years since its premiere, Crime Story: The Complete Series (Image Entertainment) comes out on DVD. At press time, review copies were not made available, so it’s impossible to ascertain if any improvements have been made over the questionable video quality of previous iterations. But this short-lived series, an influential precursor to the well-written serials littered throughout cable this decade (i.e., The Sopranos, Mad Men, Justified, and others), is worth owning despite any potential issues with its digital transfer.

Joseph Wiseman

by Tony Dayoub

Joseph Wiseman was never a household name. Like any New York actor, he was equally adept in film, television, or theater. And like many Jewish actors of the time, he often played roles of other ethnicities in a less politically correct era. His most famous film role, was a brief appearance as the mysterious and eponymous half-Asian Bond villain of the first 007 film, Dr. No (1962). Brief appearance though it was, it did become the template for all of the succeeding villains in the series, iconic characters which were usually played by powerful character actors and had a glaring physical quirk; in Dr. No's case, mechanical hands. Of course, Wiseman had some other successes. His first was the small part he played in William Wyler's Detective Story (1951), an Italian American hood he played onscreen after first creating it for Broadway. He also played the fictitious Mexican revolutionary, Fernando Aguirre, a cold pragmatist who betrays Marlon Brando's idealistic Emiliano Zapata in Viva Zapata! (1952).

Movie Review: Revolutionary Road - Kate and Leo Don't Find Things Much Better in Suburbia

I guess because of the fact that I found myself uninvolved in the viewing of Revolutionary Road, my thoughts instead were focused on inferences I was making outside the margins of the film, so I thought I'd share. The film is a return to suburbia by Sam Mendes who directed the once overrated, and now underrated American Beauty (1999). Like that movie, Road examines the inner workings of a marriage and the effects of conformity on the couple, here played by Kate Winslet and Leonardo DiCaprio - forever associated with their previous coupling in Titanic (1997). I'm not sure it exposes any kind of revelations on the complex relationship that forms a marriage. Now I've never read the Yates novel on which it is based, so forgive me if I read into it from the cinematic side more so than the literary. Road seems a little derivative, the obvious comparison being TV's Mad Men which I've heard bandied about elsewhere. But not having seen Mad Men, it actually reminds me of a much older cult classic I've been viewing for another project, Michael Mann's Crime Story (1986-88). That show was set in the early sixties, and like its descendant, Heat (1995), looked not only at the cops and robbers, but their relationships with their wives and families against the nascent idea of women's liberation. And there's the rub, because the luxury of time afforded even a TV series with a brief run allows one to pick apart both the good things and the bad about a marriage slowly. Even Heat did not have the time nor inclination to successfully flesh out the workings of a marriage in relationship to its principal story like Crime Story did. But this film takes so much time to cover the downside of the Wheelers' crumbling relationship that one wonders what Frank and April ever saw in each other. And brief flashbacks to their first dates are not convincing enough to lay the foundation. So could Mendes have been depending on moviewatchers' own history with these two actors to fill in the blanks? Does anybody else out there find it kind of funny that from a meta-perspective, this movie's Frank and April Wheeler are the hardened, grown-up, cynical versions of Winslet's social misfit Rose, and DiCaprio's freespirited Jack from their previous onscreen match-up?