There have been supergroups in rock and roll, sure. When talent from previously existing powerhouse bands have come together to create something massive. In music though, the lines between egos tend to become blurred, and superstars begin to step on each others toes.
So what happens when Tom Hardy and Jessica Chastain (arguably the biggest up and comers in Hollywood) find themselves in the mix with the likes of Guy Pearce, Gary Oldman, Mia Wasikowska and Shia LaBeouf in a prohibition-era thriller directed by John Hillcoat (The Road, The Proposition)? Do they blend like a fine whiskey blends? Or is it just too much talent for one film?
The proof is in the moonshine. And it’s all of about 80 per cent proof. While Lawless delivers on almost every promise made by the marketing campaign, there is still something missing, though for the life of you, you will walk out of the cinema without being able to pinpoint exactly what it is.
Lawless is based on the novel The Wettest County in the World by Matt Bondurant, a real life descendant of the film’s three main characters, The Bondurant Brothers. This trio of antiheros were famous for their defiance of the law when the FBI demanded a cut of their bootlegging profits. Whereas as other bootleggers were happy to comply for the sake of continuing their ‘illegal’ business, the Bondurants simply said no.
It is this defiance that provides to core to Lawless’ driving narrative. Guy Pearce represents the law in spectacular fashion as Special Agent Charlie Rakes, a detestable snake from Chicago who is nothing short of pure evil. Phenomenal in the role (his third under Hillcoat’s direction) though the film may not live long in the memory, Pearce can certainly consider it a career high. If Satan was bisexual and wore pinstripes and grease in his hair, he would be Pearce’s Charlie Rakes.
It is unfortunate then that the rest of the cast all put in near flawless performances only to be overshadowed by Pearce. Tom Hardy caps off his biggest year to date with effortless brilliance and unrivalled snarl, while anyone previously undecided on Shia LaBeouf will be more than convinced of his presence and promise after a confident lead turn here. The ladies are supporting in both character and nature, with both Chastain and Wasikowska putting in fine performances as the uncharacteristic beauties who serve to refine the rough-edged Bondurants. Chastain in particular is typically outstanding, and only builds on her already staggering portfolio on the back of her (almost double) Oscar nomination last year. With another supporting role in Kathryn Bigelow’s Zero Dark Thirty still to come before awards season, expect her name to be mentioned a few more times from a podium this winter.
Unforgettable however is Gary Oldman who, despite the prominent billing, only appears in two scenes. Own them though, he does. As high-flying mobster Floyd Banner, he is integral to the story, and only needs the two scenes to stamp his authority on the proceedings. He oozes cool for every second he’s on screen, and provides the basis for arguably what will be the film’s most memorable scene.
Nick Cave’s script is strong and classy, and he and Hillcoat’s use of a modern soundtrack does nothing but beautify what is already aesthetically satisfying. Where it falls slightly short though is extremely difficult to explain. The easiest and most relevant way would be to say that it lacks the ‘pram scene’ that The Untouchables had; something to really make it stick. It is a fine piece of work that is executed on every level with class, edge and humour, but whether or not it will be remembered as a classic prohibition-era piece will have to be determined by a home release and word of mouth among film fans. Though it looks and feels like awards fodder, Guy Pearce may be the only individual (dramatically or technically) who receives any sort of longstanding critical acclaim amidst a very, very busy year for drama.