Rating: B
Dir: Graham Moore
Star: Mark Rylance, Zoey Deutch, Johnny Flynn, Simon Russell Beale
If there’s a lesson to be learned here, it’s a heartwarming one: do not fuck with the British guy. Needless to say, this is a moral which I enthusiastically endorse. The particular Brit in question is Leonard Burling (Rylance), who emigrated to Chicago after World War II, and now runs a bespoke tailor’s shop, with secretary Mable Shaun (Deutch), who dreams of travelling the world. He also lets the local mob, run by Roy Boyle (Beale), use the store as a drop for messages and packages, Roy having been his first customer. One night, though, Roy’s son Richie shows up, with the gang’s enforcer, Francis (Flynn), and a bullet in his gut, the result of a turf war with the LaFontaine crew.
That’s just the start. Turns out there’s a rat inside Boyle’s circle, who has been informing the FBI. Worse, there’s a highly incriminating tape, which could sink the gang, give the LaFontaines vital information, or reveal the identity of the stoolpigeon. Richie has the tape, but for obvious reasons, it is of enormous interest to a large number of people. He suspects Francis of being the informant, and tensions mount, especially after Roy shows up, looking for his son. This is an issue, because Richie is no longer in any state to be found, for reasons which are problematic to both Francis and Leonard. Finally, the LaFontaines want to exploit the situation to make a move on their rivals.
Unfolding almost entirely in the confines of Leonard’s shop, this feels like it could have originated as a stage-play. In its restricted location, it also has echoes of Reservoir Dogs, albeit refreshingly free of droning on about tipping protocol or Madonna (though you will learn about the fine art of cutting – and don’t call it tailoring!). Instead, there’s a beautifully controlled release of information, as we gradually discover more about Leonard’s background. His reasons for leaving England are not as simple as he initially says. There’s an abiding personal tragedy there, and the reasons for it go a long way to explaining his affinity for the Boyles. It’s clear from the start Leonard has an underlying strength inside him. The extent of this only comes out at the very end, in a thoroughly satisfying conclusion.
Rylance is the glue holding the film together, and his performance is up to the task. It does overshadow the rest of the cast, who never achieve the same depth of character. Roy Boyle, for instance, is more like an off-the-peg version of a fifties gangster, than anything bespoke, showing up and making threats It doesn’t harm the movie too much, since your focus is very much on Leonard. It’s easy to become engrossed in his efforts as he seeks to manage the dangerous situation unfolding in his business, which imperil both him and Mable. Why this is not better known is hard to explain. It proves that a $5 million budget is no barrier to making a thoroughly solid film.