Written by: Dennis McIntyre

Directed by: Phil Joanou

BBD Comments:

Nubs first shared this film with me while we were both living in New York, and boy does it make me miss that town. Lushly photographed on location we have our third Selection in a row whose story is as much about a City as it is about the people who populate it.

‘State of Grace’ seems to cap a trilogy of Selections dealing with honor, crime and death. And though similar to ‘Yojimbo,’ and ‘City of God,’ it addresses themes common to those films in an unquestionably American environment. As an American film (from an Irish director) we find ourselves revisiting imagery from earlier American Selections in our canon. Echos of ‘The French Connection’ permeate the film, and ‘Reservoir Dogs’ owes a great debt to the dramatic thrust and violent staging of this selection.

The sheer number of exceptional performers and performances in this film secures its place in cinema history, but I continue to be astonished by it’s relative obscurity. It deserves more attention than it gets.

The film metes out it’s story meticulously, keeping the audience always engaged in the search for the truth, and the angle. The nature of Penn’s character is kept unknown as we fall in love with his friends and their camaraderie. We are unburdened by the terrible truth as the world is established - making the revelation (oddly placed in the middle of the second act) more powerful for we now know what he stands to lose.

The films shortcomings don’t really come into focus until the third act. The final shoot out is orgiastic in its blood, but the operatic slow motion seems a bit out of place as the device was only used once before in the film: during Terry and Jack’s mad dash from the burning building.

We are left at the end with a terribly sad story about the death of friends, of career, and of love. It is a haunting film, but not an altogether enjoyable one. It is violent and unforgiving and there is no redemption as our heroes were beyond hope long before the story began.

Though the violence in this film is realistic and powerful, I am beginning to feel overwhelmed by the carnage we have witnessed through the last three picks, and find myself longing for a confectionary selection like ‘The Sting’ to remind me that not all stories end in death.

Nubs did well with this pick, but on some level I feel as though it was his ‘Network’ - an unquestionably worthy film, very close to his heart, but perhaps a bit too precious.

At least it was unburdened by a Tea Break.

Coolbaugh Comments:

At this point, I will stop using descriptors like “best selection ever.” They’re all good. We haven’t had a bad selection yet. Hell, we haven’t come close. So let me say that Nubs came through. Again.

Enter ‘State of Grace.’ A film who’s cast is as impressive as its story telling is creative. Sean Penn. Gary Oldman. Ed Harris. John Turturro. They’re all in there. And for some of them, it’s safe to say it contains their best work. As for the story, the film uses a round about weaving method of delivery, which centers around the Irish Mafia working out of Hell’s Kitchen in the center of Manhattan. About half way through the film, sub-plots begin to emerge which keep you completely engaged, guessing, and hoping. The surprising, and sometimes ironic, twists of how and when answers are delivered is highly reminiscent of ‘Reservoir Dogs,’ only the latter came several years after. It was a nice follow up to the rough and tumble ‘City of God,’ and Wiener’s stellar selection, ‘Yojimbo.’ I’d call it the tri-fecta. Well done Nubs.

It will be interesting to see how Tooda responds. Until then…

Onward.

SELECTOR Comments:

‘State of Grace’ has always been to me like the one hundred dollar bill I found on the ground. How could this movie have not been found before? Every time I've seen it, and everyone I've shown it to asks the same thing. That said, I would never consider it among the Great Films. It's just that it is always a great crowd pleaser.

I have to admit I was quite nervous all day of my selection. I told myself "they can't all be hits," so around St. Patrick's day when i remembered this film, I figured I'd go for it and hope no one had seen it. Following ‘Yojimbo’ and ‘City of God’ I had to continue with the gang war over city of Babylon theme. I did like all good Irish do - bought some Jack Daniels and prayed. I may have been drunk, but watching that night felt like the epitome of our get-togethers . I was proud of myself for putting myself on the edge of my seat and back in Hell's Kitchen.

The movie really overcomes all triviality, and hackneyed gratuity with the charm of its ensemble. The opening credits let you know you’re in good hands from the start. Sean Penn, Gary Oldman, Ed Harris, Robin Wright(Penn), C. Thomas Reilly, and all of them bring it. As funny and intense as this cast is you gotta wonder how much improvisation and distilled spirits were on this set. A perfect example takes place when the Irish hit man takes out the bartender but can't resist nabbing a peanut off the bar.

I also appreciate the diegetic Irish song choices; U2, Sinead O'Connor, Van Morrison. These little gems and the one major plot twist of our hero's identity separate this film from it's numerous mafia predecessors.

It is also what makes the end sequence such a disappointment. The rest of the movie is so wiity and original, it is a shame that the climax just dissolves in a typical slow motion ballet of guns, blood, and broken bottles. With Jackie gone, the love story gone, the cop dilemma resolved, one's buzz starts to fade in this unnecessarily long climax. Just pray that afterwards you're not asked to walk a straight line before given your car keys.

I do have to thank the audience for being so supportive during the movie and during my drunken escort home. Now that's camaraderie and art imitating life. Let's see who's gonna sit through my ‘Sid and Nancy’ next time.

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