Without going into all of the details, suffice to say that this is part of the big “meaning” of the film. It is in having to confront all that he fears and having to fake confidence and sell himself as the authentic Vincent/hit man, that Fox realizes the hidden depths of his inner-strength. You can almost see the moment when the bumbling cab driver disappears and the new Fox steps into his shoes: the guy who will be forever changed (if he lives).
Fox leaves the club with bigger balls, a new swagger in his step, a don’t mess with me attitude. It is his epiphany; one can almost hear the angel- hallelujah crescendo chorus.
This is where the film begins to get all Sun Tzu and Cruise falls into his super, fast-talking philosophical mode that, I admit, he does well. Hit man and philosopher, fast-talking in the back –seat about how we all gotta take our moments and we’re all nothing but “specks” in the cosmos and on and on, where I admit, he sort of loses me, because it’s not any real philosophical school or thought; it’s the sort of speak that sounds smart, if spoken with enough authority and fast enough and to the right dupe, but on any real inspection, it’s the sort of crap that falls apart the minute you try to inspect it for any deeper meaning.
Relieved and alone, the two drive through some deserted part of outer L.A.. Wild dogs roam the streets (hear that other heavy hand falling? Two dogs, actually… amazing). They are but “lone wolfs in the night,” these two opposite, but manly men. The film is over-dubbed with a throaty rock-ballad with some guy singing about “the memory of the one” and “the shadow on the sun” and in the end, hey baby, it’s a hard life but “I can’t see you.” This is a guy’s guy. A tough guy. Ain’t no bitch gonna hurt his manly, hairy heart. These guys are too tough for this love and commitment stuff; Lest we forget, in the words of the Great Master, “We are all just flecks and specks…” Ahh, Grasshopper.
What, exactly, this has to do with anything is unclear. It’ s just this deep bonding moment in which the good guy and the bad guy realize their similarities. The “Hey, we’re not so different” moment. The “fine line” and all that stuff you’ve heard before. You almost expect Cruise to pull out two bottles of Michelob and to tell Fox to pull over so they can sit back and have a Michelob Moment after doin’ their manly work.
Article comments
1 - Aaman
Fine insights, Sadi. I too, felt it was a good film, but as contrived as most other pulp put out nowadays. Of course, the superlative acting make this a must-watch in a shallow sea of crap.
2 - sadi
thanks Aaman. The film is certainly entertaining enough and i would recommend it in many ways, hokey or not. it's still a fun ride... and i'm all tired out of the end of the world, dead people trend in films these days (White Noise, The Grudge, etc etc). Life has gotten creepy enough - why the need to boost the creeped out factor? Curious.
thanks =-
sadi
3 - Unisol
Sadi,
No disrespect, but, how often did the popcorn chewing get in the way of dialogue and several key scenes that are important to the plot?
First off, the character played by Jada Pinkett Smith was, as you say, NEVER dropped off at her house. The dialogue between herself and Foxx points this out, as does the building where she is dropped off (gasp!) is a FEDERAL courthouse.
Second, it was the FIRST hit that went wrong...not the FOURTH. This is an example of Karma, which the hitman Vincent (Cruise) eludes too, saying "you have to roll with it."
Third, "why would a professional hit-man stick with the cab instead of doing XYZ?" Hmm, lets see...window crash, Max (Foxx) screams, loud noise and chatter from Vincent and his driver...all a few feet away from an apartment complex. It would seem better to just get the hell out of there and leave as little evidence behind as possible (which was why the body went in the truck, why Vincent washed most of the blood off the windshield, and why he took Max with him...because to kill him, leave them there, steal another car and change the plate...well...that leaves stuff behind for someone to find...and it takes too much time...as Vincent refers to his scedule constantly. Seems to be a VERY professional hit-man to me.
Fourth, the relationship between Max and Vincent. They are not the same. Vicent sees Max as inferior for the most part...and those moments he does see and mirror of himself in Max, he pushes it aside by insulting him. Perfect example, the Jazz club scene...Vicent really does not want to kill the Jazz player. But a job is a job...and Vicent loves his work. When Max brings up "improvisation", a term Vicent used earlier to justify something, Vincent sees his own inner self in Max...so he pushes him aside by saying, "That's funny coming from you." But Vincent relents and gives in, giving the Jazz player a possible out by answering a Jazz trivia question.
Another great example is (you fav.) the scene with Max's mother. Vicent was absolutely right about the "pattern" Max has and any changing of it. As we can see, Max's mother has a big mouth and would've probably raised hell if her son didn't come to see her. Case in point. Vicent's, which you learn if you pay attention, mother died when he was a child...around 2-4 years of age. In essence, he never had a mother...and his father was a bastard by all standards. Talking with Max's mother provides a connection, something Vicent hasn't experienced in his life...and it intrigues him and he see's Max's reaction to Vicent being near his mother and sees, first hand and very up close...the love between a mother and her son. A revelation for the hit-man i am sure.
This is also the moment, not in the nightclub (though i agree with you that this is where Max finally "HAS" to act and confront all falsity) that Max snaps and "acts", finding his backbone and balls, not becuase out of any sense of duty or fear or heroism...but out of jealousy because his mother is treating this total stranger with more kindness and tenderness and love...than she will allow herself to treat him with. Only by talking to a killer, can she finally say she is proud of him (even if the reason is false) and that she loves him. That kind of attention drives Max to actually DO something that matters, take away the list from Vincent.
Well...I think that is it. If you agree, good. If not...oh well...my two cents. The article was very well written though.
Oh yeah! Forgot! Those were coyotes that crossed the road in that scene...and they tend to travel alone...but sometimes in pairs or a pack of 3-4. Just some info.
Later.
4 - steve
this movie was great. I had a fixed opinion of jamie foxx...that he could never achieve anything past booty call..but he is actually a great actor. right after collateral...ray came out...confirmed my thoughts.
it was also nice to see tom cruise as a bad guy. I liked the story structure....liked the jazz club scene the best.....love the music...its called "pharoh's dance" by miles davis...off bitches brew...the first real fusion album....GREAT movie...Ill give it a b+
5 - sade
i liked it too in some ways, a B+ is about right... thx. for reading and also, above, thx, for the info. about coyotes. who knew?
Cheers and rock on,
sade
6 - Bob A. Booey
I don't like Jaime Foxx, but I thought this looked good when I saw the commercials way back and Tom Cruise has picked some interesting scripts the last few years. I'm going to rent this and I'll let you know if it's good.
That is all.
7 - sade
okay; obviously, my own thoughts are in the review.
cheers,
s.r.p.