VOLKER SCHLSNDORFF'S 1998 FILM WAS BASED ON JAMES HADLEY CHASE NOVEL 'JUST ANOTHER SUCKER'
It turns out that the classic noir Brian De Palma mentioned in a brief interview last week is Palmetto. De Palma had told Alex Helisek of Breezeway Productions that he is interested in doing an adaptation of Palmetto, a 1998 film directed by Volker Schlöndorff which was based on the James Hadley Chase novel Just Another Sucker. That screenplay was written by E. Max Frye (Something Wild). Schlöndorff, a pioneer figure of the New German Cinema (which happened from 1962 to 1982), is best known for his ambitious 1979 film adaptation of Günter Grass' The Tin Drum. About five years later, Schlöndorff made films in Hollywood before returning to Germany in the mid-'90s, then back to Hollywood to make Palmetto. "My friend (filmmaker) Bertrand Tavernier asked me why I didn't ever make the kind of movies I like to watch myself, a real 'movie' movie," Schlöndorff is quoted in the studio press notes for Palmetto (via Peter Rainer's review in the Phoenix New Times). "I decided it was time to take a break from the heavier subject matter and have a little fun."
Indeed, watching Palmetto, it is easy to see there is much there for De Palma to play with: a straight arrow reporter whose moral compass is compromised after being framed, staged kidnappings, ransom notes, drop offs, bodies in trunks, recordings of conversations, erotic frisking for wires, femme fatales, plenty of sex, and wigs galore. The film even opens with Woody Harrelson's somewhat Carlito-like stance toward a judge after his conviction is overturned.
Definitely could be fun for De Palma. For a bit more context regarding Schlöndorff's film version, which was not so well-reviewed upon initial release, here's Peter Rainer's review from 1998:
Palmetto is a film noir set in a torpid seaside Florida town. It's based on the James Hadley Chase novel Just Another Sucker, and when we first see Harry Barber (Woody Harrelson), he fits that moniker exactly. He looks dazed and confused--a sucker incarnate. Suckers are, of course, integral to noir--they provide the blood supply for the genre's predatory vamps. It's been said that a thriller is only as good as its chief villain, and, in the same way, most noirs are only as good as their suckers.
Palmetto has a good sucker but not much else. Harrelson is everything one could hope for, but he's surrounded by a cast, including Elisabeth Shue, Michael Rapaport, Chloe Sevigny and an underused Gina Gershon, which appears to have seen too many noirs--bad noirs. Their elaborate machinations are so transparently base that they might as well be camping it up for the cameras. The trick to getting noir right is to play it absolutely straight; the looniness and the greed may appear absurd to us, but they have to be deathly serious to their practitioners. Palmetto isn't a takeoff on noir, and yet it has that unintended effect. It appears to be winking at the audience when, instead, it should be trying to stare it down.
Part of the phoniness of Palmetto can be traced to its director, Volker Schlsndorff (The Tin Drum), being a German director adapting a novel by a British pulp novelist who wrote about America without ever spending any time in it. (Chase was the pseudonym for Rene Raymond.) There's an uncomfortably twice-removed quality about the movie. Screenwriter E. Max Frye (Something Wild) sets out all the proper pulp/noir place settings, but Schlsndorff doesn't really provide a meal.
The film's press notes carry an interesting quote from the director: "My friend (filmmaker) Bertrand Tavernier asked me why I didn't ever make the kind of movies I like to watch myself, a real 'movie' movie. I decided it was time to take a break from the heavier subject matter and have a little fun." But it's one thing to be a fan of noir, quite another to render it effectively. Palmetto is a fan's movie, and it has the kind of gaga unreality that a giddy cineast might bring to it.
Harrelson has always had a look of sozzled lewdness that makes him perfect for roles ranging from Larry Flynt to the deranged vet in Wag the Dog. But Harrelson's lewdness doesn't have many levels. What you see is often what you get. In Palmetto, he brings some softness into his usual slouch. Being a victim becomes him. His Harry Barber is a journalist released after two years in prison; it's been discovered he was framed for trying to expose civic corruption. Angry, aimless, he drifts into a kidnap-for-ransom scheme engineered by Rhea Malroux (Shue), a curvy bundle apparently married to a wheezing millionaire (Rolf Hoppe) with a trampy daughter (Sevigny). Harry becomes the bad guy he was mistakenly believed to be, and he can't quite live up to the billing. When the police, attempting to track down the kidnapers, put Harry on the job as their press liaison, he finds himself double-whammied. Once a sucker, always a sucker.
If the filmmakers had concentrated on this comedy of suckerdom, they might have come up with something piquant. (Harrelson certainly was up for it.) But Harry is surrounded by scenery-chewers. Shue is the worst offender, but Rapaport, playing Rhea's husband's bodyguard, is a close second. He's not playing a bad guy; he's an actor playing a bad guy.
Shue impressed a lot of people in Leaving Las Vegas because she brought a sensual bleariness to her patrician cool; she was a clean-cut slut with a heart of fool's gold. She hasn't been nearly as effective since. As the brainy scientist in The Saint, this Radcliffe graduate actually seemed rather dim; in Deconstructing Harry, she was part of the female foliage with which Woody Allen adorned himself. In Palmetto, spilling out of an assortment of clingy dresses, Shue is so unconvincing in her wiles that you can't imagine even a stupe like Harry getting stung.
Palmetto might not have been appreciably better even if it were more skillful. At this point in film history, it's not enough anymore just to go through the same old noir paces. Something new must be added to the mix. That's what John Dahl attempted to do with Red Rock West and, to a lesser extent, The Last Seduction. It's what Curtis Hanson does so successfully in L.A. Confidential--he dramatizes his own ambivalence about the pulp conventions he expertly executes. If Schlsndorff has any feelings about noir, you'd never know them from Palmetto. He's just happy to be orchestrating the nastiness. But we've heard this score before.