People I Know

With 'People I Know' Dan Algrant tells a story of how the rich and powerful can get away with anything and everything. In the film, it is an actress, Jill (Tea Leoni) and a PR (Al Pacino) who fall victim as they threaten to expose the shady potentially scandalous secrets of the rich elites. Algrant's portrayal is very one-sided because he shows all the wealthy characters as big bad wolves and the lesser fortunate people in a more humane light. Examples include the scene where Tea's face lightens up as she thinks of a house in the country, and the sequences between Pacino and Basinger where we see a vulnerable side of Eli. It is the performances that stand out. Al Pacino displays a very intense performance, of a vulnerable and relatively weak character. It is entirely different from the kind of roles he has played earlier and one of his best parts. Kim Basinger lightens the screen as the supportive and loving Vicci. I liked how Algrant demonstrates the special relationship between Eli and Vicci. Their scenes together were some of the best moments of the movie. Tea Leoni is superb despite having a small role. Ryan O'Neal and Richard Schiff are adequate. 'People I Know' is a small film and the ending perhaps may not appeal to many but I thought it was an interesting, even though somewhat partial, take on how power corrupts and destroys.

I'd never heard of this 2002 film until Ebert and Roper reviewed a few weeks ago and I was pleasantly suprised since I don't think Al Pacino has been doing his best work lately. In this film, he's right on target and the film is pretty fascinating. He looks haggard, overworked, and struggling with all kinds of things. Even Ryan O'Neal is believable for a change (of course, the character he plays fits him to a tee).

I don't know if this one went straight to video or what, but search it out (especially Pacino fans). A definite 7 out of 10. Tea Leoni is sharp as a tack playing a flake. The entire supporting cast blends in nicely and this resembles a David Mamet script.

Inspired by the SWEET SMELL OF SUCCESS and THE BONFIRE OF THE VANITIES, this labour of love is the sort of film made for New Yorkers by New Yorkers. While not being particularly fresh in it's ideas and story, PEOPLE I KNOW more than makes up for it's short comings due in large part to another strong turn by Al Pacino.

Pacino is surprisingly gentle and small as a has-been impresario who is desperate for one last benefit to do some good in the city. Why exactly this benefit means so much to him is never really explained but Pacino, with that wonderful expressive face of his, is content to carry the drama with subtly and grace, using those great bags under his eyes to convey a sense of pleading exhaustion throughout the film. In many scenes, his character seems so fatigued that we expect Pacino to expire on the spot, so heavy is the burden of his life lived as a heel.

The script, by New York playwright Jon Robin Baitz, knows it's world well, as demonstrated by the excellent lead characters and the numerous small, but equally well conceived characters that pepper the screenplay. Plot-wise the Baitz's script is less than successful. The screenplay suffers from two well-meaning maguffins - Pacino's big benefit and the `toy' Tea Leoni finds - which don't really pay dividends and lead the film to a somewhat flat finale.

The direction by SEX IN THE CITY helmer Daniel Algrant is unobtrusive and safe, with no real effort made to assemble this film in anything higher than TV movie quality. Algrant is content to keep attention on his cast, which - when dealing with Al Pacino - is never a bad idea.

Don't pay that much attention about all the bad comments you will hear: this is a very interesting movie.

To sum up, Al Pacino is an agent for all kind of people: stars, politicians... Therefore, he knows a lot of people and way too much about them. Now, the problem is that to many spectators the movie seemed empty. True there is no action, and true there is no big storyline. But it doesn't matter! This movie is about describing the "high spheres" of New York society. It is a good lesson on how corrupted the system is, how hypocrite people can be, and how you can't rely on anybody, even so-called friends. Everyone will turn his back on you when it comes to his own interest.

Al Pacino acts great in this movie. It's a very hard part since there is no real guideline, but he does the job wonderfully. You will see an OLD Al Pacino, a TIRED Al Pacino, that might disappoints you if you remember him as the lively and shouting "mister Devil's Advocate", but it's an interesting side of him that you might discover.

Pacino is extraordinary. The much-lamented accent is sorta a bisexual/Georgian/"Noo Yawk" ... it represents a complex mixture of dialect for a complex character perfectly portrayed by Pacino - balls and all. His work seems to become increasingly esoteric over the years, and outside of his character, the storyline is uneven and downright wretched in some parts.

But Pacino redeems even the drek and delivers a landmark performance that one wouldn't expect as he nears closer to being able to collect Social Security. Gutsy, bold, and brilliant. The script and direction needed quite a bit of work- but Pacino's performance is compelling enough to wonder exactly what he will do next. A must-see for Pacino fans.