by Ryan Lewellen
Olive Films’ release of 2002’s DARK BLUE could hardly be hitting retail at a more poignant time. Really, anytime in the past couple years would have been woefully appropriate, given how many disturbing instances of police brutality, particularly against minorities, have pervaded news stories and given rise to a new activist movement. Set in Los Angeles in 1992, during the final days of the trial acquitting the four officers who assaulted Rodney King, Sergeant Eldon Perry (Kurt Russell) has been doing a lot of dirty work for his Commander (Brendan Gleeson). He has fabricated stories and evidence in hearings on the department’s use of deadly force. Currently, his partner’s career is on the line, that of Bobby Keough (Scott Speedman), but with a few big lies, he is exonerated. In the midst of all this corruption, and plenty of racism, Assistant Chief Arthur Holland (Ving Rhames) is taking every fully legal action he can muster to reform the L.A.P.D., even if it means destroying his career or life in the process. Holland might be getting a big break, as Perry discovers his superior officer’s favorite informants might be doing far more for their boss than trading secrets.
As a longtime fan of his, I find it fitting to start by saying Kurt Russell’s performance is phenomenal here. He’s perfect for the complex role, because despite Perry’s bigotry and questionable detective work, we have to be rooting for him by the end of the film. We are, of course, and that narrative feat of empathy is achieved in two ways. First, Gleeson’s character is even more despicable and corrupt than his subordinate. Secondly, Russell is every bit as charming and charismatic here as he was playing someone like Jack Burton. That doesn’t justify his actions, but sort of like watching an affectionate crotch-dog, you can see he’s a shit, but you can’t help but smile at him.
Perry has spent most of his life, and his entire career, certain he was always doing the unfortunate, but necessary deeds to make the world a better place. Then, when some nearly legitimate detective work brings him to the conclusion Darryl Orchard and Gary Sidwell (the above-mentioned informants) are guilty of murder, he loses his framework of denial. It’s perfectly clear to him they must be brought to justice, and just as obvious Commander Van Meter is hiding something from him. Watching Gleeson’s character pull rank and lash out, when the two have been so raucously chummy, is fairly powerful, and Russell nails the reaction.
As the film moves along at an even pace, characters intriguingly change and develop, and motivations for that change always remain organic and concrete. As the film boils to the climax, the Rodney King trial comes to a close, and Los Angeles descends into chaos. For the most part, Director Ron Shelton’s handling of the riot scenes are disturbingly harrowing, but with such an enormous group of African American extras running amok, his indifferent shooting makes them look too alien. The camera leaves most of them faceless, as though the anger which ignited the violence was born of a zombie virus, rather than a real world outrage. These perpetrators were not justified in their actions, but they were still human.
DARK BLUE, based on a story by crime novelist James Elroy, with a script written by David Ayer (who has recently made a bigger name for himself), makes for a compelling crime drama. It won’t be blowing any minds, as its unremarkable filmmaking approach neither provokes much thought, nor quickens the pulse. That being said, anyone with an interest in Kurt Russell, or the politics it gently explores wouldn’t walk away from it having felt their time was wasted.
