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Plot – Roy Dillon (Cusack) is a con artist. His absentee mother Lilly (Huston) is a con artist. And to Roy's surprise his girlfriend Myra (Bening) just also happens to be a con artist. While working a grift in a bar he receives a blow to the gut from the bartender that sends him to the hospital. While there he is visited by both Lilly and Myra, and it's quickly evident that they are not going to get along as their claws come out. When he is released from the hospital Myra offers Roy the chance to team-up for a big con. As he tries to deal with both of the ladies in his life everything quickly beings to fall apart, leading to a violent climax.
This is a film which feels extremely 90s. It just has that 90s sheen to it. It's tremendously cool, sexy and slick; quite Tarantino-esque in fact. While it may look very 90s (to my eyes at least) it's tone commonly feels rooted about half a century previous with its film noir sensibility and vaguely hard boiled dialogue.
I've always enjoyed watching the exploits of con artists, whether it be in film or TV. For the most part it is presented as an exciting and romantic world. And as we are watching con artists who deal in confidence; getting people to like and trust them, we usually end up liking them as well, finding them very likeable and charming. This however is a much darker affair, taking a look behind the scenes if you will at the life of the grifter. Instead of coming together to set up a sting on some poor unsuspecting sap this trio are out to con each other, and are willing to do whatever it takes to be the last one left standing.
It's a tremendously acted effort, all three of the main cast coming up trumps. Cusack gives a great, quite sympathetic performance as Roy Dillon. Roy is a conman with limited talent and purely small time aspirations. He really is no match for the wily, predatory instincts of his mother Lilly and his girlfriend Myra. Indeed the moment were the two ladies in his life meet at his hospital bedside you feel his fate is pretty much sealed. While Cusack is very good, due to the nature of their characters however he has a tendency to be outshone by the overpowering showings of Bening and Huston. Both women are vicious and vindictive; so easily able to just pick Roy apart and more than willing to do so.
Huston in particular is incredible. She really is an absolute predator, willing to do whatever it takes to come out on top. And if you need any convincing of that fact just look at the stunning, disturbing conclusion she has with her son. It's also really quite a sexy film with both Bening and Huston bringing the goods. For Huston that's actually a real feat considering she kind of resembles a transvestite Marilyn Monroe!
It's a real revival film noir, harking back to those hard hitting, sparse and brutal tales of darkness populated by a series of unlikeable characters. It's a real story of murky morals full of conceit, narcissism and manipulation. And then there's the inclusion of a possible Oedipal angle. Dark, seedy viewing indeed.
Conclusion – A pitch black, hard nosed neo-noir which also has a surprisingly fragile tone, none more so seen than in Huston's desperate Lilly. Huston and her two co-stars are all terrific.
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Year of release
1990
1990
Directed by
Stephen Frears
Stephen Frears
Written by
Donald E. Westlake (script)
Jim Thompson (novel)
Donald E. Westlake (script)
Jim Thompson (novel)
Starring
John Cusack
Angelica Huston
Annette Bening
John Cusack
Angelica Huston
Annette Bening
The Grifters
Plot – Roy Dillon (Cusack) is a con artist. His absentee mother Lilly (Huston) is a con artist. And to Roy's surprise his girlfriend Myra (Bening) just also happens to be a con artist. While working a grift in a bar he receives a blow to the gut from the bartender that sends him to the hospital. While there he is visited by both Lilly and Myra, and it's quickly evident that they are not going to get along as their claws come out. When he is released from the hospital Myra offers Roy the chance to team-up for a big con. As he tries to deal with both of the ladies in his life everything quickly beings to fall apart, leading to a violent climax.
This is a film which feels extremely 90s. It just has that 90s sheen to it. It's tremendously cool, sexy and slick; quite Tarantino-esque in fact. While it may look very 90s (to my eyes at least) it's tone commonly feels rooted about half a century previous with its film noir sensibility and vaguely hard boiled dialogue.
I've always enjoyed watching the exploits of con artists, whether it be in film or TV. For the most part it is presented as an exciting and romantic world. And as we are watching con artists who deal in confidence; getting people to like and trust them, we usually end up liking them as well, finding them very likeable and charming. This however is a much darker affair, taking a look behind the scenes if you will at the life of the grifter. Instead of coming together to set up a sting on some poor unsuspecting sap this trio are out to con each other, and are willing to do whatever it takes to be the last one left standing.
Film trivia – The studio behind the film actually wanted Martin Scorsese to direct the film himself. Scorsese however chose Stephen Frears to direct personally, while he would stay on as a producer. Scorsese also supplied the brief opening narration for the film.
Huston in particular is incredible. She really is an absolute predator, willing to do whatever it takes to come out on top. And if you need any convincing of that fact just look at the stunning, disturbing conclusion she has with her son. It's also really quite a sexy film with both Bening and Huston bringing the goods. For Huston that's actually a real feat considering she kind of resembles a transvestite Marilyn Monroe!
Film trivia – Angelica Huston may have been Oscar nominated for her stunning turn as Lilly Dillon but she was hardly first choice. Geena Davis, Kate Capshaw and Cher were all considered for the role, while Sissy Spacek auditioned. And that's not even mentioning the actresses who were offered the role and declined – Melanie Griffith, Michelle Pfeiffer, Brooke Shields and Debra Winger
Conclusion – A pitch black, hard nosed neo-noir which also has a surprisingly fragile tone, none more so seen than in Huston's desperate Lilly. Huston and her two co-stars are all terrific.