Lumet's Before the Devil Knows You're Dead
Superb Melodrama with Ethan Hawke, Philip Seymour Hoffman
Aug 26, 2008
The key plot phrase of Before the Devil Knows You're Dead is “extravagant theatricality.” Iff viewers settle down onto their comfy chairs and couches with this idea in mind, they will, from the first unnerving scene on, be completely satisfied.
The premise of the film is two brothers, eager to make some quick money to solve their burgeoning debt issues, decide to rob a jewelry store. The plan appears foolproof at first glance - the store is a small, family-owned shop, located in a suburban strip-mall, and both brothers have previously worked there so they know the layout, security system and passwords.
Lumet's Back Catalogue Includes Serpico, Dog Day Afternoon
Director Sidney Lumet has made many amazing movies during his 60 years in the film industry, including 12 Angry Men, Dog Day Afternoon, and Serpico. Before the Devil Knows You’re Dead is far from his first melodrama. In an interview with film critic Emanuel Levy, Lumet expounded on this a bit while discussing his most recent film, “"Melodrama has very wide range," he explained. "The story asks the viewer to suspend disbelief and to accept more and more outrageous circumstances and behavior.”
The movie is a delicious little soap opera surrounding the intrigues and destruction of a single family. The film deals with drug addiction, infidelity, murder, lies and hatred, and an emotional implosion and explosion will occur before the credits roll. While none of the characters are particularly likable or sympathetic, the actors deserve high accolades for making their actions seem plausible.
Before the Devil Knows You’re Dead works because the actors are so good in their roles. The acting combination of Ethan Hawke, Philip Seymour Hoffman, Marisa Tomei and Albert Finney is thrilling to watch.
Terrific Cast: Ethan Hawke, Philip Seymour Hoffman, Marisa Tomei
Ethan Hawke is terrific as the coddled, unsure youngest son and brother, who is unable to stand up for himself to his nasty ex-wife, his cold and bossy older brother, or even to his daughter, who seems to have taken a page from her mother in regards to her attitude towards her father.
Even Marisa Tomei is brilliant with the small amount of screen time given, making the viewer believe that this beautiful woman could have such self-esteem and confidence issues. There is one scene in particular, during a conversation with her husband when Tomei’s character admits to an affair. Tomei is so good, the audience can see that she is telling her husband this as much to make him see her as an attractive and alluring woman, as she is trying to convince herself.
In all, this film is a superb melodrama that few, if any, viewers will be able to relate to, but like any decent soap opera, they won’t be able to tear their eyes away. It works because of the actors abilities, and Lumet’s experience and direction. Just remember that, if seeking an edge-of-your-seat thriller, look elsewhere.
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