Writer-director Mark Malone's offbeat noir fantasy is the sort of small-scale film that has largely disappeared from the theatrical marketplace, but manages to thrive on video.
Mick (Anthony LaPaglia) is an alienated, existential hit man with a secret romantic streak. He's troubled by questions about the meaning of life, and confesses to mob kingpin George (Peter Boyle) that he idly considered murdering the call-girl George sent him because she failed to excite him.
George offers to set Mick up with a prominent psychiatrist if he will take a contract on an upscale lady who has stolen money from the mob. The catch: the hit must be carried out immediately.
Mick's pal Archie (Matt Craven) wants to come along. Mick is reluctant to let him, because Archie's cowardice in a previous hit nearly cost George and Mick their lives. Archie begs--he wants to prove himself, so Mick reluctantly agrees, explaining that his profession demands the kind of man who
"doesn't talk, doesn't show, doesn't feel."
Much to his surprise, Mick finds that his intended victim, the elegant Fiona (Mimi Rogers), is expecting him. She's giving a swank party, but ushers out her remaining guests so she and Mick can be alone. She asks him detailed and personal questions about his work, and her cool, sophisticated
manner literally disarms Mick. Soon she has him tied to the bed. The sex is playfully sadistic, and the pain arouses him intensely. But Fiona cuttingly dismisses Mick's performance as they dress and head downstairs, where Archie is waiting.
The more Mick learns about Fiona, the more ambivalent he becomes about killing her. Finally, he calls George to debate the need for this hit, leaving Archie alone with Fiona. Archie finds himself confiding in Fiona about the job he botched, and the way it has damaged his relationship with Mick.
Mick returns from his conversation with George determined to go through with the job, but in no hurry to do so. At Fiona's suggestion, they pick up Chinese food and have a midnight picnic in Idlewood cemetery. But Fiona experiences a psychotic episode, and falls into a catatonic state.
Mick rushes her to the famous shrink (Joseph Maher) mentioned earlier. He reluctantly confides that Fiona has an incurable mental illness that will progressively destroy her mind. Utterly torn, Mick takes Fiona to the dockside warehouse where he is to kill her, but can't bring himself to do it.
George arrives, and while he and Mick argue, Fiona goads Archie--who's been left to guard her--into killing her. Mick is shattered.
Though BULLETPROOF HEART's screenplay was credited to "Gordon Melbourne," it was in fact written by first-time director Mark Malone, whose previous screenwriting credits include DEAD OF WINTER and SIGNS OF LIFE. Neither suggested the skill and wit he brings to BULLETPROOF HEART, which twits noir
conventions, Martin Scorsese, Robert De Niro and the cult of pharmaceutical therapy, without ever lapsing into self-referential smugness.
The film's performances are dense and subtle--though Craven hams it up a bit as Archie--and Malone is a confident and inventive director whose use of lighting and sound is smoothly impressive. He also pulls off a couple of flashy maneuvers, including a twice-interrupted flashback and a
post-credits coda. But unlike many first-time directors, Malone never upstages his actors. BULLETPROOF HEART was well received by critics, but failed to find an audience until it was released on video. (Violence, nudity, sexual situations, profanity.) leave a comment
