Tag: Michael O’Keefe

Staff Pick: “Michael Clayton” (2007)

George Clooney and Tom Wilkinson in Michael Clayton 2007

“Michael Clayton” is a slow burn, with an ending that delivers quite a punch. It’s the type of film that many love but doesn’t fit neatly into the modern economics of Hollywood. Studios rarely make dramas like this for broad theatrical release anymore.

George Clooney plays Michael Clayton, a middle-aged lawyer who works for a large law firm as its fixer. He cleans up messes for clients who get into trouble – stuff like accidents, domestic issues, etc. He’s also having his own problems as he tries to dig out of debt from a restaurant venture gone bad due to his alcoholic brother.

Clayton gets pulled into a crisis when the firm’s top litigator Arthur (Tom Wilkinson), threatens to blow up the firm’s largest case by exposing how the client chemical company (fictional U-North) knew its product was killing people. Arthur is a brilliant but troubled lawyer with mental health issues, He strips naked during a deposition while declaring his love for the lead plaintiff, a young, pretty woman from a farm in the Midwest.

The cast in this legal thriller is excellent. Clooney delivers one of his best performances as Michael, playing it straight and leaving aside the playful attitude we see in so many of his popular performances. He’s right out of central casting as the middle aged, big firm lawyer who is doing his best to remain calm as he deals with Arthur and his own issues.

Wilkinson, on the other hand, is brilliant as the manic Arthur who feels liberated by his decision to finally come clean about his client’s misconduct after grinding on the class-action lawsuit for years. He gives us some of the most memorable scenes of the film.

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A roundtable chat with screenwriter Lewis John Carlino of “The Mechanic,” (2011 and 1971)

If there’s a picture of Lewis John Carlino anywhere on the Internet, I haven’t been able to find it. Does it matter?

Unlike other notables, writers are still allowed to be a little mysterious. Indeed, other than the fact that he wrote several widely acclaimed movies, an episode of the legendary television series “Route 66,” some plays, and directed a few movies, very little information is available online about Lewis John Carlino.

The Great SantiniCarlino is probably best known as the director and writer of 1979’s “The Great Santini,” a beloved sleeper about a military family based on a novel by Pat Conroy and featuring one of Robert Duvall’s greatest and most bombastic performances. “Santini” is, however, one of the more conventional films in the Carlino cannon.

In 1966, he adapted a novel by David Ely into John Frankenheimer’s famously eccentric paranoid science-fiction thriller starring Rock Hudson, “Seconds.” Less well remembered are his non-“Santini” directorial efforts. “The Sailor Who Fell From Grace With the Sea,” a bizarre and intense 1976 drama based on a book by Yukio Mishima, and “Class,” a 1983 comedy in which Jacqueline Bisset has an affair with brat-packer Andrew McCarthy, the best friend of her son (Rob Lowe). In between, Carlino also wrote the acclaimed fantasy drama, “Resurrection” starring Ellen Burstyn. After 1983, Carlino stopped directing movies entirely and his credited writing work declined dramatically.

Now a soft-spoken seventy-something intellectual, Carlino met with a group of writers to discuss a remake of one of his best known films, “The Mechanic.” The 1971 original starred Charles Bronson as a troubled but ultra-stoic hit-man who tries to end his isolation by taking on a protegee (Jan-Michael Vincent), even though his last hit was on the young man’s father (Keenan Wynn). Despite its action film trappings — including a nicely accomplished quarter-hour dialogue-free opening set-piece — it’s an often chilling look at men who have embraced death and cruelty. Bronson’s character does have a “code,” but it’s not a moral one. His aim is to embody an amoral version of existentialism that might be familiar to readers of Albert Camus’s “The Stranger.”

The new version, which stars Jason Statham and Ben Foster as the cool-blooded killer and his more hot-headed mentee, keeps enough of the original story and dialogue that Carlino is a credited screenwriter on the film. This time, around, however, Statham’s character is less vicious and the movie hits a number of more familiar action-flick beats. Viewers looking for traces of Camus will have to go elsewhere.

THE MECHANIC

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