Pubdate: Mon, 19 Mar 2001
Source: Boston Globe (MA)
Copyright: 2001 Globe Newspaper Company
Contact:  P.O. Box 2378, Boston, MA 02107-2378
Feedback: http://extranet.globe.com/LettersEditor/default.asp
Website: http://www.boston.com/globe/
Author: Dennis Harvey, Reuters

DEPP'S DRUG SAGA ''BLOW'' STARTS ON A HIGH

Blow (Drama, color, R, 2:04)

SAN FRANCISCO (Variety) - Johnny Depp plays George Jung, a key player in 
the 1970s cocaine-trafficking boom, in the fact-based drama ''Blow,'' the 
most ambitious project to date from director-producer Ted Demme (''The 
Ref,'' ''Life'').

Initially buoyant and flavorful, pic grows less distinctive as Jung's 
rise-and-fall saga hits the downhill slope. Respectable but unmemorable end 
result may suffer from comparison with the similarly themed, albeit 
differently angled, ''Traffic,'' especially if latter gains a theatrical 
second wind after the Oscars. However, relative paucity of hip prestige 
items in the spring marketplace should help ''Blow'' achieve decent 
middle-range returns in most territories.

While unquestionably a spectacular real-life story, the onscreen ''Blow'' 
(adapted from Bruce Porter's nonfiction tome) hazards direct comparison 
with several prior fictive features, from Brian DePalma's ''Scarface'' 
remake to ''Boogie Nights'' and ''Casino.'' The last two are particularly 
similar in narrative arc and retro-high-life atmosphere, and boasted much 
more narrative-scale sweep (as well as sustained stylistic bravado) than 
''Blow'' achieves.

Part of the blame may be laid on adherence to facts: Covering a roughly 
two-decade span, pic's events too often seem overcompressed, with 
psychological depth sacrificed. But direction and script (by David McKenna 
and Nick Cassavetes) also shoulder some responsibility, as both prove much 
more adept at engineering early reels' heady, lightly mocking air than 
lending sufficient weight to protag's later free-fall.

Nonetheless, ''Blow's'' first half is quite impressive enough to satisfy 
audience expectations raised by star and subject. After initial sequence 
showing the now-zaftig, middle-aged Jung pulling one last cocaine megadeal 
to the strains of the Rolling Stones' ''Can't You Hear Me Knocking,'' pic 
rewinds to his late-'50s Boston-area childhood.

Mother Ermine (Rachel Griffiths) constantly harps on loving father Fred's 
(Ray Liotta) erratic abilities as a breadwinner -- frequently walking out 
on both husband and son in fits of materialistic pique.

Thus George's youthful move to sunny '68 Southern California, accompanied 
by rotund best friend Tuna (Ethan Suplee), finds him an all-too-eager 
convert to countercultural venture capitalism. Chicks, beachfront digs and 
endless parties reward the duo for just a little free enterprise: Making 
sure their ever-widening circle of friends remains well-supplied in primo 
marijuana.

George soon broadens his market to Eastern home turf -- with a convenient 
assist from girlfriend Barbara (''Run Lola Run's'' Franka Potente), who as 
a stewardess can transport goods without being searched.

It all seems blissfully easy until George is arrested in 1972, carrying 
some 660 pounds of pot. Meanwhile, Barbara dies from cancer. Given that 
tragedy and George's prison stint, the happy-go-lucky partnership forged 
with Tuna, fellow Bostonite Kevin (Max Perlich) and well-connected L.A. 
hair stylist Derek (Paul Reubens) quietly dissolves.

Fate, however, throws George in the same cell as Diego Delgado (Jordi 
Molla) and, after both are released, George takes up Diego's offer to 
become the American conduit for notorious Colombian cocaine kingpin Pablo 
Escobar (Cliff Curtis). Despite the heightened risk involved in 
multinational smuggling, George flourishes for a while during the 
coke/disco heyday and gains some insider cache via wedlock to high-born 
bombshell Mirtha (Penelope Cruz). Yet her behavior soon echoes Ermine's, 
even after she gives birth to a daughter. Life turns darker as his 
Panamian-banked fortune is appropriated and escalating FBI heat brings 
George closer and closer to permanent incarceration just when he's 
desperately trying to focus on his child's need for parental stability.

This final half-hour features pic's most intimate and downbeat dramatics; 
unfortunately, they coincide with its most pedestrian writing and direction 
as well. There's a tactical error in making George's preadolescent daughter 
(Emma Roberts) an only-in-movies fount of cliched grown-up wisdom and 
doleful accusations.

But the bigger problem is that ''Blow's'' whirlwind progress hasn't laid 
necessary groundwork for a family-values pitch, however much its loss may 
haunt the real-life protag. (Postscript notes Jung won't finish his prison 
stint until at least 2015, and has never been contacted by his only child.) 
As the end approaches, each scene strikes a more heavy-handed, sentimental 
note than the last. Reliably brilliant at fleshing out 
borderline-cartoonish characters, Depp often grows vague in more 
conventional protag roles. This one is no exception: While always 
watchable, thesp's interp seems to be hiding its insights behind Jung's 
ever-present tinted shades. The arrogance, recklessness or sheer ambition 
that might help explain how this all-American boy waded into such deep 
trouble are MIA.

Depp's meticulous aging makeup comes off as just that, while his series of 
ultra-dated blond frightwigs are fun but wildly unconvincing. Nor can 
disbelief be suspended re: George's parents (Liotta being just eight years' 
Depp's elder, and Griffiths five his junior), though the actors make a 
creditable effort.

As the father, Liotta comes closest to lending pic a center of emotional 
gravity. Aussie Griffiths (sporting an immaculate Beantown accent) does all 
she can with an aggressively shrill, shallow character; Cruz, who doesn't 
appear until 70 minutes in, gets just one memorably berserk scene amid an 
otherwise banal hottie-to-harpy arc.

Fellow Spanish star Molla, making his U.S. bow, is fine until Diego's 
''Scarface''-like madness unleashes way too much inner jamon. Reubens (aka 
Pee-wee Herman) at first makes gay Derek a grating flamboyant stereotype, 
then reigns it in quite effectively. But all these plus several other 
significant parts ultimately get short shrift from a script that's epic in 
outline but thin in character involvement.

Production design pays close attention to the more vulgar nouveau riche 
styles of the late 1960s through early '80s, providing considerable 
incidental amusement. Demme amplifies that slant in certain segs, reviving 
groovy cinematic gimmicks of yore (still photo montages, etc.) to witty 
effect. In the same vein, Graeme Revell's sly original score mimics 
swingin' lounge music cheese, while vintage rock hits (with special 
emphasis on the Rolling Stones) are smartly deployed elsewhere.

Ellen Kuras' impressive widescreen lensing at times draws on the bold 
ingenuity of her early indie work (''Swoon,'' ''Postcards From America,'' 
''Angela''). Mexican locations prove a convincing substitute in 
Colombia-set scenes.

George Jung .......... Johnny Depp

Mirtha Jung .......... Penelope Cruz

Diego Delgado ........ Jordi Molla

Barbara Buckley ...... Franka Potente

Ermine Jung .......... Rachel Griffiths

Fred Jung ............ Ray Liotta

Tuna ................. Ethan Suplee

Derek Foreal ......... Paul Reubens

Kevin Dulli .......... Max Perlich

Pablo Escobar ........ Cliff Curtis

Augusto Oliveras ..... Miguel Sandovar

Leon Minghella ....... Kevin Gage

Young George ......... Jesse James

Alessandro ........... Miguel Perez

Cesar Toban .......... Dan Ferro

Sanchez .............. Tony Amendola

Mr. T ................ Bobcat Goldthwait

Dr. Bay .............. Michael Tucci

Maria ................ Monet Mazur

Rada ................. Lola Glaudini

Inez ................. Jennifer Gimenez

Young Kristina Jung .. Emma Roberts

Kristina Jung ........ James King

A New Line Cinema release of a Spanky Pictures/Apostle production. Produced 
by Ted Demme, Joel Stillerman, Denis Leary. Executive producers, Georgia 
Kacandes, Michael De Luca.

Directed by Ted Demme. Screenplay, David McKenna, Nick Cassavetes, based on 
the book by Bruce Porter. Camera (FotoKem color, Deluxe prints; Panavision 
widescreen), Ellen Kuras; editor, Kevin Tent; music, Graeme Revell; music 
supervisor, Amanda Scheer Demme; production designer, Michael Hanan; art 
directors, David Ensley, Bernardo Trujillo (Mexico); set designers, Maria 
Baker, William Taliaferro; set decorators, Douglas A. Mowat, Melo Hinojosa 
(Mexico); costume designer, Mark Bridges; sound (Dolby Digital), Allan 
Byer; supervising sound editor, Mark P. Stoeckinger; associate producers, 
Susan McNamara, Tracy Falco, Hillary Sherman; assistant director, Nicholas 
C. Mastandrea; casting, Avy Kaufman. Reviewed at Variety Club Screening 
Room, San Francisco, March 12, 2001. (In South by Southwest Film Festival.)

Reuters/Variety
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