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Breaking In

1989, Movie, R, 91 mins

Breaking In: Review

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Pairing writer-directors John Sayles (THE RETURN OF THE SECAUCUS SEVEN; THE BROTHER FROM ANOTHER PLANET) and Bill Forsyth (LOCAL HERO; GREGORY'S GIRL) was an intriguing combination that failed to create anything matching either man's best work. Sayles actually wrote the screenplay some 10 years earlier, but, reluctant to direct it himself and particular about who would have a crack at it, he sold the script only after learning that Forsyth had been lined up to direct the film. The film concerns an aging professional burglar who takes an aspiring thief (Casey Siemaszko) under his wing. At first, the fastidious Reynolds is put off by Siemaszko's goofy carelessness, but after a practice job, he allows Siemaszko to join him in an assortment of heists--a grocery store, the headquarters of a religious organization, and the big score, an amusement park. Siemaszko quickly absorbs the techniques of successful larceny as taught by the seasoned Reynolds, but is not interested when his mentor further tries to introduce him to his philosophies about life. At heart, Reynolds is just an old softie, while Siemaszko, representing the younger generation, reveals himself to be mostly crass, cold, and acquisitive. It's a little strange to find these old-fogy sentiments in a script by Sayles, writer-director of the left-leaning MATEWAN and EIGHT MEN OUT; Sayles' script here is elegant and expressive as far as it goes, but it's also clearly a labor of lucre, more craftsmanlike than heartfelt. Still, good films, like THE HOWLING and ALLIGATOR, have been made from Sayles' self-described hackwork. The problem is that while Sayles is a master of theme and character, the tightly knit narrative has never been his strong suit. Forsyth's best films also have mood, character, and atmosphere to spare. But what gives them their snap and drive are the well-crafted, almost insanely complex plots at their cores. BREAKING IN has virtually no plot, however, and Forsyth demonstrates little empathy for his two leads. After spending most of the decade in inane comedies and mindless actioner, it was nice to see Reynolds in a low-key role suited to his relaxed demeanor, however. He gives his character a quiet dignity and turns in an effective performance. leave a comment
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Breaking In: The Crime No One Thinks About Until It Happens to Them
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