David O'ConnellWilliam H. Macy is The Cooler
November 19th 2008 02:58
Bernie Lootz (William H. Macy) is a loser, a walking curse, the embodiment of bad luck, “kryptonite on a stick” according to his employer Shelly Kaplow (Alec Baldwin), owner of downtown Las Vegas casino the Shangri-La.
In Wayne Kramer’s directorial debut, Bernie is a “cooler”, sent to the tables where a hot streak in taking place - his presence alone, or making slightest contact to the player, is enough to stop the winning surge in its tracks.
He’s a valuable commodity to the Shangri-La even if he’s there under sufferance, repaying a debt accumulated through madness of the past – substantial gambling losses followed by retribution from Shelly leaving him with a shattered knee, and a six year stretch inside the Shangri-La where the lights are always on and night becomes indistinguishable from day.
With only days to go before Bernie flies the coup, his luck changes when a casino waitress, Natalie (Maria Bello), who has barely acknowledged his presence in the past, becomes interested in this perennial loser. They seem to have a connection and Bernie accepts his surprising new-found luck at face value, never considering the possibly ulterior motives of those around him.
Complications arise soonafter in the form of neglected lowlife son Mikey (Shawn Hatosy), unsighted for years, and his pregnant girlfriend, Charlene (Estella Warren), looking for a financial donation from his despised weakling of a father.
Bernie’s change of fortune means trouble for the Shangri-La too – his happiness effectively cancels out his mystical ability to curse the streaking players, and Mikey’s greed provide a perfect opportunity for Shelly to cement Bernie’s place in the casino for another long stretch, another bout of ill-fortune attached.
With elements of noir, this offbeat romantic drama is highlighted by three superb leading performances, some hilarious one-liners in its sharp screenplay by director Kramer and Frank Hannah, and a sensual, seductive jazzy score by Mark Isham, one of his best in recent years.
The visual approach is meticulous, with James Whittaker’s cinematography providing a unique look for the casino, all glittering colours and strikingly interspersed pools of light. The entire film has turned out magnificently considering it was shot in 21 only days.
Macy is perfect for this role and he thrives in it, even if the downtrodden Bernie’s air of gloom is overdone somewhat at times. He breathes life into this loveable loser, and helps make the funny, refreshingly real sex scenes work. Bello is a perfect counterpoint, convincing enough that we never imagine the reasons that spark her initial interest – but never doubt her genuineness as the stakes get higher in the film’s second half.
Baldwin gives one of his finest screen portrayals as Shelly, the old-school casino owner, clinging to lost ideals in the face of the city’s crass modernization and the overbearing intimations of an encroaching mob boss and his pencil-pushing offsiders; they move in on Shelley’s territory, not so subtly suggesting a rethinking of his Neanderthal ways. Shelley’s a ruthless, venal, but withering idealist who you can’t help feeling pity for even as you despise him.
The Cooler is a superb film, one of the best of 2003, which stands up well to a second viewing as I found out last night – in fact it only gets better!
In Wayne Kramer’s directorial debut, Bernie is a “cooler”, sent to the tables where a hot streak in taking place - his presence alone, or making slightest contact to the player, is enough to stop the winning surge in its tracks.
He’s a valuable commodity to the Shangri-La even if he’s there under sufferance, repaying a debt accumulated through madness of the past – substantial gambling losses followed by retribution from Shelly leaving him with a shattered knee, and a six year stretch inside the Shangri-La where the lights are always on and night becomes indistinguishable from day.
With only days to go before Bernie flies the coup, his luck changes when a casino waitress, Natalie (Maria Bello), who has barely acknowledged his presence in the past, becomes interested in this perennial loser. They seem to have a connection and Bernie accepts his surprising new-found luck at face value, never considering the possibly ulterior motives of those around him.
Complications arise soonafter in the form of neglected lowlife son Mikey (Shawn Hatosy), unsighted for years, and his pregnant girlfriend, Charlene (Estella Warren), looking for a financial donation from his despised weakling of a father.
Bernie’s change of fortune means trouble for the Shangri-La too – his happiness effectively cancels out his mystical ability to curse the streaking players, and Mikey’s greed provide a perfect opportunity for Shelly to cement Bernie’s place in the casino for another long stretch, another bout of ill-fortune attached.
Natalie (Maria Bello) with Bernie (William H. Macy) at the tables.
With elements of noir, this offbeat romantic drama is highlighted by three superb leading performances, some hilarious one-liners in its sharp screenplay by director Kramer and Frank Hannah, and a sensual, seductive jazzy score by Mark Isham, one of his best in recent years.
The visual approach is meticulous, with James Whittaker’s cinematography providing a unique look for the casino, all glittering colours and strikingly interspersed pools of light. The entire film has turned out magnificently considering it was shot in 21 only days.
Macy is perfect for this role and he thrives in it, even if the downtrodden Bernie’s air of gloom is overdone somewhat at times. He breathes life into this loveable loser, and helps make the funny, refreshingly real sex scenes work. Bello is a perfect counterpoint, convincing enough that we never imagine the reasons that spark her initial interest – but never doubt her genuineness as the stakes get higher in the film’s second half.
Alec Baldwin is brilliant as Shelly Kaplow (on set here with director Wayne Kramer).
Baldwin gives one of his finest screen portrayals as Shelly, the old-school casino owner, clinging to lost ideals in the face of the city’s crass modernization and the overbearing intimations of an encroaching mob boss and his pencil-pushing offsiders; they move in on Shelley’s territory, not so subtly suggesting a rethinking of his Neanderthal ways. Shelley’s a ruthless, venal, but withering idealist who you can’t help feeling pity for even as you despise him.
The Cooler is a superb film, one of the best of 2003, which stands up well to a second viewing as I found out last night – in fact it only gets better!
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