The Informant! works. It is one of the best times I’ve had in a movie theater in ages. But maybe it shouldn’t have worked. It’s a movie chock full of nutty decisions on the part of director Steven Soderbergh (Ocean's 11). How can so many bits of mismatched craziness find ways to get along?
For instance, the movie, which tells the tale of a man who plays inside informant for the FBI, uncovering his agri-business company’s price fixing, has been crafted in a style that harkens back to the ‘70s. It’s not clear why though. The movie is set during the ‘90s – which I suppose were like the new ‘70s.
At first glance, it seems a rather arbitrary creative choice. But, it works. It has an uncanny way of relating the movie – which is a meticulously detailed thriller – to a decade where such thoughtfully and carefully constructed thrillers were the rule. I’m thinking 3 Days of the Condor and All the President’s Men.
Another bit of craziness is the musical score by composer legend Marvin Hamlisch. For much of the movie, it is absent, but, when it periodically bursts on the scene, it is right there, in our face, in our ears, almost overwhelming the movie. It should be distracting, annoying.
But, it works. It lends the scenes bounciness and levity that appropriately transports them above what would otherwise be dark and serious and sets them down in a place reminiscent of the Pink Panther movies – or Woody Allen’s Bananas, also scored by Hamlisch.
Perhaps though, the biggest bit of craziness and tonal shiftiness is the main character Mark Whitacre (played by Matt Damon). He’s quite a piece of work. He has a way of avoiding attempts to pin him down. He seems at times a good family man with one unfortunate fatal flaw: He is too trusting of others, ridiculously too trusting. He sits down and immediately tells all to FBI agents, greasy corporate lawyers, and even reporters and office secretaries.
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