The Merry Gentleman

I have a confession: I adore Kelly Macdonald's Scottish accent. It makes me go all weak in the knees, sends my heart aflutter.

She is the reason I went to see "The Merry Gentleman." I like Michael Keaton, too, and thought his performance in "Game 6" (2005) was exceptionally good. I wasn't too sure how good a director he would be, but after watching "The Merry Gentleman," I can safely say that Keaton is a very good filmmaker.

The story of "The Merry Gentleman" could very well point to all the trappings of a formula: An abused woman inadvertently sees a hit man and then he befriends her with obvious intent.

Given filmmakers' penchant these days to turn this sort of subject matter into yet another Tarantino or Guy Ritchie clone, the calmness with which "The Merry Gentleman" unfolds comes as a wonderful surprise.

I realize that film-goers who want to see every hit man movie turned into another fast-talking Tarantino imitation might be sorely disappointed or even bored by "The Merry Gentleman." This film takes its time. It's in no hurry to get where it's going and it doesn't pander to its audience with needless bloodshed, non sequitur riffs or slam-bang car chases. This film might be about a hit man and the witness, but it is not an action film. This really is a splendid character study, paced deliberately so that we would get to know, understand, appreciate and grow to love these people.

This film relies on its two main characters, Frank (Keaton) and Kate (Macdonald), to carry the film. And these two fine actors do not disappoint. Their scenes together are strikingly powerful, even when they say little. And there are many such moments in this film. Even their meet-cute, which could very well have turned into a typically corny moment, is handled with grace, charm and just enough humor to make you smile.

This is a drama about human connections, more than anything else. An unconventional love story as Frank and Kate, a depressed professional killer and the mousy abused woman, slowly work their way through each other lives, through the uncomfortable moments, trying to steal moments they can share.

Keaton could very easily have played Frank for a chuckle or two, given him a frenetic edge, as he often has in films. Instead, he plays him low-key. Perhaps too low-key, some could argue, but that is what I loved about his character. He really is more than a man struggling with the morality of what he does; he's a man struggling with life and all its vagaries. What he does for a living seems almost inconsequential to his struggles. Keaton finds the fine edges to his character and realizes there's more to reveal in what Frank doesn't say than in what he does. There's nothing false about Frank's weariness or sadness. This is truly a finely-tuned and subtle performance by Keaton - one of his very best.

Macdonald is completely charming as Kate. Her glorious accent aside, she brings a delightful sweetness to her role. This is a real woman with genuine problems and we understand Frank's desire - and even need - to take care of her. She has suffered much and it all seems so unfair that such a creature would be in such pain. Macdonald is marvelous. She has always been a remarkably astute actress capable of immediately drawing the audience to her. Just watch her in "The Girl in the Cafe" (2005) and you will promptly fall in love with her. She also gave the severely under-praised performance in "No Country For Old Men" (2007). This is yet another wonderful performance from a terribly under-appreciated actress. Macdonald never disappoints.

There are two fine supporting performances - from Bobby Cannavale as Kate's husband, and Tom Bastounes, as a cop investigating Frank's killings and also harboring a crush on Kate. Cannavale's outburst seems a bit noisy for a film this solemn, but he makes it work. And Bastounes, as a not-too-tidy cop, is just priceless. His dinner scenes with Kate contain terrific bits of acting.

At a time when "Transformers: Revenge of the Fallen," "Terminator Salvation," "Public Enemies" and other Hollywood films gain all the attention, it is too bad that a film such as "The Merry Gentleman" seemingly just gets lost in the shuffle.

This is a gem of a film. It is not for anyone seeking an adrenaline rush. But is for those seeking a tender, sweet, deeply moving, at times startling film about deeply damaged people and their attempts to find some sort of solace, happiness and meaning in this life. "The Merry Gentleman" is a richly rewarding experience for those who appreciate good movies.

The Merry Gentleman (Dir: Michael Keaton): The word on the "street" (or shuttle) was "eh" for Keaton's directorial debut, as it was for other gems like "Quid Pro Quo" and "The Escapist". That's too bad, especially considering hot tickets like "The Great Buck Howard" were underwhelming compared to the lower-profile films. The Merry Gentleman is slow paced, yes, but that's an attribute. Keaton doesn't rush anything in his story of a lonely young woman (Kelly McDonald) who is the locus of desire for several men, including her ex-husband (a great Bobby Cannavale), an alcoholic cop, and a suicidal hit-man (Keaton). He honors the complexity of the situation with an ending as open ended as it is authentic. It is a glowingly photographed, impeccably performed magical realist drama, one that I'm glad exists in a market where it cannot thrive (just like the best Alan Rudolph films). Taking place during two of the loneliest holidays (Christmas and Valentine's day), The Merry Gentleman is also a great religious film, movingly detailing McDonald's faith as she in turn becomes a figure of worship for men with a variety of intentions. It even ends with a resurrection. As a primer on our ability to "save" each other, this is nothing less than rapturous, and Keaton infuses the frame with snow, fluorescent light, and human encounters that match the melancholic beauty of the frame. With Game 6 and this film, Keaton has proved to be one of our most reliable and literate actors. He is also a knockout director. ****

The Merry Gentlemen has the makings, and perhaps even the trappings, of a predictable neo-noir involving a hit-man (Michael Keaton), a detective (Bastounes) and the woman that they're both eying (Kelly MacDonald), and the elements of crime floating all about. But Keaton brings to the table as a first-time director an absolutely unbreakable grasp of what makes the scene(s) work from an actor's stand-point. Ironically for an actor who usually makes his mark in movies as someone with a lot of nervous energy or something that makes him quirky or mysterious (i.e. Batman/Bruce Wayne, Beetlejuice, Jackie Brown), here he's subdued, almost like Alain Deleon in Melville's movies. He doesn't say much, but when he does you listen, especially as his character Logan has pneumonia or carries a Christmas tree.

On his own end Keaton's got his character covered wonderfully. That leaves the other two, and one other actor that should be noted. MacDonald is quickly becoming an example of a perfect character actress. It's hard for me to see her becoming a full-blown A-list star, even a decade or more after she hit the scene in her debut in Trainspotting, but when she comes into a role, usually in the supporting variety (most recently No Country for Old Men and Choke) you feel her presence incredibly. She's so vulnerable and adorable, so keen on how her character should be in every moment, as someone who's fragile, been messed with by her husband, but wants to have her space while at the same time being friendly to both the lonely hit-man and the desperate cop. It's hard for me to see a flaw in her performance, and maybe helps elevate things another notch or two. Ditto for Bastounes, one of those actors you swear you've seen somewhere else but actually has only been in one (or none) features before this. He, too, makes a mark playing off both MacDonald like at the restaurant or Keaton in a pivotal scene at the tailor.

There's another actor I should also credit, though at the moment I forget his name: he plays MacDonald's character's husband, and he appears out of the darkness in a scene, a recovering abuser with a newfound Jesus addiction who tries to win back his wife's heart as she holds a knife to him. It's one of the best, creepiest dramatic scenes I've yet seen this year. And while I praise his and the other principles performances, the rest of the film around them is... well, good, watchable, though nothing wholly remarkable. At times Keaton is still finding his footing with style, keeping some shots engaging and others just doing a big pan or reveal where it wouldn't be necessary. It's competent work, though, and I would hope to see something else from him; at the least he reveals himself such a fantastic director of his fellow actors (not least of which himself, though as Eastwood shows that's easier done than said) that he may have found a new calling. It's an A-grade acting job amid a decent little B-movie. 7.5/10

Just a disappointing ending. Not really sure what else could have happened though. If anything, different aged characters may have worked better. Kelly and her character just seemed to young for the role though she was very good in it.

The main character doesn't say a word for the first half hour. But in that half hour, if we're paying attention, we get more insight into the depths of a man's soul than if we had just read his 500-page autobiography.

The Merry Gentleman is billed as a crime drama, but that label hardly does it justice. The same way "The Spy Who Came In From the Cold" broke the spy genre, the same way "2001: A Space Odyssey" broke the scifi genre, the same way "Pink Floyd -The Wall" ain't no average musical, this film is anything but your average crime drama. For starters, there's not a single car chase, gunfight, blimp explosion or any of the standard crime drama clichés. Instead, the tension & suspense is masterfully built around secrets. We begin with a secret which only the main character and the audience know. Then there is a secret which the 2nd character only knows (which the audience must slowly piece together). And finally, we have the main character's ultimate secret which is so cryptically presented that it may take you a few days of introspection before you figure it out.

This film is very much like a challenging poem whose meaning is elusive at first glance but whose mood & style sinks into your mind over time. Dialogue is sparse, but every line packs a whollop. In particular, pay attention to the analogy of ghosts & angels which crops up several times both verbally & visually. One of the characters says something like "Ghosts and angels are the same, except ghosts are haunted while angels are blessed." OK, it may not mean much at first, but by the end of the film the significance is absolutely beautiful.

Which brings me to the cinematography: absolutely beautiful. I'm no film school student, but I know what images affect me, and these scenes certainly did. Contrast (gleaming white snowflakes at night), perspective (long corridors at the morgue), symmetry (a lonely theatre marquee) and surrealism (a Christmas tree burning in a wheat field) are just some of the artistic touches you have in store. I can honestly say that I cannot think of a finer directoral debut than Michael Keaton in The Merry Gentleman.

I won't even get into the first rate acting, the haunting musical score, or Katie's adorable accent. This movie is just about perfect. The only reason why I'm giving it only 8 stars instead of 10 is that I'm a real hardass.

By the way, DO NOT WATCH THE TRAILER. DO NOT READ THE DVD DESCRIPTION. AVOID ALL DISCUSSION OF PLOT. This movie is best enjoyed if you know absolutely nothing about the story. The challenge (and the fun) will be even greater.