Film Review: CONFIDENCE

"Confidence" is the latest film to be categorized in the genre known as "neo-noir." This genre has its roots and inspiration from the old black-and-white Hollywood films of the 1940s and 50s that would simply become known as "film noir." In film noir, nobody is innocent and the morals of the protagonists can be questioned just as much as the antagonists. The characters drink whiskey like it was water and smoke cigarettes like they're going out of style. The "good-guys" aren't entirely good and the women are not as pure as they appear. The police work with the criminals and money is always the end to all means.

When the genre of film noir first emerged on the American cinema scene during World War Two, nobody in Hollywood could predict that this new and unique style of film making would inspire future generations of film makers, critics and scholars. The first of these cinematic intellectuals to champion this new genre, as well as coin the phrase, were a few French critics who would later become the leading figures in a new cinematic movement known as the "French New Wave." The likes of Francois Truffaut ("Shoot the Piano Player") and Jean-Luc Godard ("Alphaville") wrote glowingly in the French publication "Cahiers du Cinema" on the subject, and later borrowed heavily from the style in their early films.

Confidence works when you think of it in the context of the history of film noir. The obvious place to start is the city of Los Angeles, where many of the great film noir stories have taken place. Films such as "The Big Sleep"(1946), "Kiss Me Deadly"(1955) and "The
Killing"(1956) have all effectively shown that the name "City of Angels" is a contradiction in itself. All characters are guilty and those who you trust the most, will burn you in the end.

Some of the outstanding neo-noir films of the last decade, such as "The Grifters"(1990), "Pulp Fiction"(1994) and "L.A. “Confidential"(1997),
have also used the city effectively to comple-ment their stories. Los Angeles has become a city for those whose origin is elsewhere. Whether it be individuals from foreign lands trying to find a better life, to an all-American girl from the Midwest wanting to become a movie star, to a lowlife criminal from places unknown wanting to pull off a big score. Los Angeles has become a modern day ancient Rome where prosperity is believed to be hiding somewhere in the darkness.

Set in modern-day Los Angeles, "Confidence" tells the story of a talented con artist named Jake Vig. Played by Edward Burns ("Saving Private Ryan"), Jake soon learns, after pulling off one of his many creative cons that the money he has swindled is that of the city's most feared criminal who simply goes by the name of "The King." Impressed with Jake's talent, the King suggests (or rather insists) that the two pull off an even bigger grift targeted at a corporate bank that illegally launders money.
With Dustin Hoffman playing the King, his interpretation is that of mystery and an example of why he is one of the best actors around today. He seems to be sexually attracted to Jake, but surrounds himself with strippers at his bar. He comes across as a wimp, but head-butts an employee of his without hesitation when he fails to follow through on an order. The King is a classic film noir character who is filled with contradictions.

Of course, every film noir story needs a woman and a cop. Enter Lily ("The Mummy's" Rachel Weisz), a talented grifter herself who is recruited by Jake after she picks his pocket. The two are attracted to each other, but in the world of con artists, nobody can be trusted. To make matters more difficult, Gunther Buttan (Andy Garcia), a shady federal officer who has a past history with Jake, has tracked him down to L.A. and wants to catch him red-handed in the act.
Along the way, we also meet Jake's associates that include fellow grifters from the East Coast and paid-off LAPD detectives that help in on the cons.

James Foley seems the obvious choice to direct "Confidence," with past neo-noir films such as "After Dark, My Sweet" (1990) and "Glengarry Glen Ross" (1992) to his credit. Not to mention a superb screenplay from NYU film school graduate, and first time feature film writer Doug Jung, who gives these characters great dialogue. All involved in "Confidence" help in keeping the spirit of film noir alive.

Rating: 3 0ut of a possible 4