Twilight, also called the magic hour, has long been rumored to possess special seductive powers. "Twilight," also once called "The Magic Hour" until Magic Johnson trademarked the title for his upcoming talk show, possesses similar powers to seduce the audience into believing that it is being enthralled by a brilliant, convoluted film noir.
"Twilight" actually is enthralling, but brilliant and convoluted may be going too far in describing this simple mystery that is only redeemed by the talents of its dream cast.
Paul Newman, Susan Sarandon and Gene Hackman - not to mention James Garner and Stockard Channing in supporting roles - make "Twilight" a beguiling two hours, temporarily eclipsing the predictable noir yarn with their tasty acting gusto, until the film falls apart in its anti-climactic climax.
But it is a pleasure just to sit back and enjoy watching Paul Newman sink his teeth into the role of Harry Ross, an ex-cop and sometime private eye. In the opening scene, Newman, shows off his still-cool hand as Ross stakes out jailbait Mel Ames (Reese Witherspoon) and her dim-witted lover Jeff (Liev Schreiber) as they enjoy a clothing-free getaway in Mexico. Getting shot by the girl in the process of retrieving Mel for her parents, Ross still manages to show the youngsters a thing or two abou
After that amusing prologue, the action jumps ahead two years with a down-and-out Ross envying and living off of the acting Ames family led by Ross' best friend and fading action hero Jack (Hackman) and former screen siren Catherine (Sarandon). Jack, who is dying of cancer, sends Ross on an errand that sends the plot and Harry's life into turmoil as he finds an angry almost-dead man, some incriminating evidence about Catherine and persecution at the hands of his suspicious old partner Verna (Channing). The remainder of the mystery revolves around a series of whodunnits, while the trio of principles wax poetic about reaching the twilight of their lives and Harry and Catherine rekindle an old love - a tense, hot-blooded affair that provides the film with its best scenes. "Twilight" would be a significantly better film if it allowed Newman and Sarandon to further work their magic on each other and the audience instead of layering on plot twists that are supposed to echo Raymond Chandler but instead seem contrived and obvious. As a film noir, "Twilight" should have stayed in the dark, but as an emotional character study examining the effects of age, fame and wealth on three complicated souls framed by beautiful L.A.-at-dusk imagery, it succeeds on the persistent coolness of its stars and their acting prowess, with Newman chief among them. With the power to seduce with a glance or an action, Newman's own talent saves the dramatically beguiling but otherwise magicless "Twilight."
03-09-98
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