This movie has a cool poster like THE LEGEND OF NIGGER CHARLEY (1972). Curiously enough, the lead character, Chili Palmer instinctively follows the Three Laws of Fred Williamson. That being, he has to win the fight, you can't kill him, and he has to get the girl in the end. Here we have Travolta surfing the wave of success that was PULP FICTION (1994), for a second turn at bat as a mobster with a heart of gold. That's Hollywood gold, for you suckers who didn't get the producers memo, and even here Travolta hits one out of the park with the assurance of one now completely comfortable and secure in his superstar persona.
The production values being a few levels above the debut of Williamson as an action hero in his Blaxsploitation flick, this film is a comedy of shifty characters involved in the usual business of pulling a fast one on each other. But no one ever seems to get the better of Palmer, as he moves from Miami to Vegas and finally Los Angeles to tie up a few loose ends for his bosses. Whether parting the hair of his arch enemy Ray 'Bones' Barboni, as played by Dennis Farina, or showing James Gandolfini as Bear the bodyguard the way down from here, or serving as an acting coach for the actor Martin Weir, making the most of his Napoleonic complex, as played by Danny DeVito, he appears to always know where his marks are one step ahead of everybody else.
Travolta has an elegance to his tough guy swagger, which in a sense likens him to Bogart. He does not have to let it all hang out in expostulation as in earlier roles. The histrionics are left in good hands with Bette Midler, David Paymer and Linda Hart. Here less is more and he can be the charming model of understatement for once. It is this charm lacquered over the makeup of a character who makes his living from the physical and psychological intimidation of others, that also makes him appear to be a family friendly version of Bella Lugosi. Lugosi in real life was an individual of tremendous presence and panache, and Travolta evokes all this without even smoking a cigar.
Delroy Lindo has a great view from his balcony as Bo Catlett. He deals in drug shipments and could be considered Chili Palmer's peer. He conveys the physical and passionate strength of a John Henry as his qualification for running around with this bunch. But these days it becomes clear he allows Bear to do all his dirty work and stunts. Gene Hackman as the Hollywood Producer Harry Zimm ladles out generous portions of sleaze and can't help acting like a gangster in one of his movies even when he comes face to face with the real thing in Ray Barboni.
Rene Russo is noirish as the Scream Queen of B Horror Movies Karen Flores. She also makes a smooth romantic interest and movie date for Palmer. But this is largely a tale of interpersonal relationships spiced with betrayal and one-upmanship and just a tap and a taste and a touch of larceny and the rough stuff. Barry Sonnenfeld the director keeps it light, but sometimes you need a flow-chart to keep up with all the unraveling complications. The musical score by John Lurie helps the viewer to go with the flow even when you can't nail down all the details even with a scorecard. Like the poster, everybody is copping a pose to be cool, but not everyone gets to ride the Cadillac of mini-vans in the end. When Penny Marshall finally yells "Cut!" on this fusion of reality and fantasy for fun, we discover that in the world of Chili Palmer crime really does pay once you have the right agent.
The production values being a few levels above the debut of Williamson as an action hero in his Blaxsploitation flick, this film is a comedy of shifty characters involved in the usual business of pulling a fast one on each other. But no one ever seems to get the better of Palmer, as he moves from Miami to Vegas and finally Los Angeles to tie up a few loose ends for his bosses. Whether parting the hair of his arch enemy Ray 'Bones' Barboni, as played by Dennis Farina, or showing James Gandolfini as Bear the bodyguard the way down from here, or serving as an acting coach for the actor Martin Weir, making the most of his Napoleonic complex, as played by Danny DeVito, he appears to always know where his marks are one step ahead of everybody else.
Travolta has an elegance to his tough guy swagger, which in a sense likens him to Bogart. He does not have to let it all hang out in expostulation as in earlier roles. The histrionics are left in good hands with Bette Midler, David Paymer and Linda Hart. Here less is more and he can be the charming model of understatement for once. It is this charm lacquered over the makeup of a character who makes his living from the physical and psychological intimidation of others, that also makes him appear to be a family friendly version of Bella Lugosi. Lugosi in real life was an individual of tremendous presence and panache, and Travolta evokes all this without even smoking a cigar.
Delroy Lindo has a great view from his balcony as Bo Catlett. He deals in drug shipments and could be considered Chili Palmer's peer. He conveys the physical and passionate strength of a John Henry as his qualification for running around with this bunch. But these days it becomes clear he allows Bear to do all his dirty work and stunts. Gene Hackman as the Hollywood Producer Harry Zimm ladles out generous portions of sleaze and can't help acting like a gangster in one of his movies even when he comes face to face with the real thing in Ray Barboni.
Rene Russo is noirish as the Scream Queen of B Horror Movies Karen Flores. She also makes a smooth romantic interest and movie date for Palmer. But this is largely a tale of interpersonal relationships spiced with betrayal and one-upmanship and just a tap and a taste and a touch of larceny and the rough stuff. Barry Sonnenfeld the director keeps it light, but sometimes you need a flow-chart to keep up with all the unraveling complications. The musical score by John Lurie helps the viewer to go with the flow even when you can't nail down all the details even with a scorecard. Like the poster, everybody is copping a pose to be cool, but not everyone gets to ride the Cadillac of mini-vans in the end. When Penny Marshall finally yells "Cut!" on this fusion of reality and fantasy for fun, we discover that in the world of Chili Palmer crime really does pay once you have the right agent.