The Grifters (1990) - Stephen Frears

Stephen Frear's The Grifters begins with a stylish prologue, introducing the viewer to three grifters, each working their racket in their own unique way.  Lily makes her way to the track, where she places bets to change the odds for her bookie.  Roy, whom we soon learn is the son of Lily, performs simple, two-bit con's on unsuspecting bartenders and patrons, stealing petty cash out from right under their eyes.  Lastly there is Myra, Roy's girlfriend, who uses her body to manipulate men to get what she wants.  While these three character's stories are intertwined, Frear's introduction to them only implies they have some connection, using a three-way split screen image instead of any didactic method, visually expressing their connection without outright stating it in a stylish and atmospheric introduction which sets the stage for his neo-noir.  Featuring strong performances from John Cusack, Annette Bening, and in particularly Anjelica Huston, Stephen Frear's The Grifters is a story akin to a game of chess, with three character's ethos creating an intriguing web of deception, uncertainty, and impending consequences which lurk in the horizon.  Through the film's plotting, The Grifter's plays out like a maternal battle for Rory's soul, with both his mother Lily, and his girlfriend, Myra, each trying to gain the allegiance of this man, who himself is stuck in the middle of a deadly game, with his own intentions being hidden from both the viewer and these two women. Each of these character's persona is built upon deceit, and what unfolds between Roy and his mother Lily, encapsulates the tragic consequences, both emotionally and physically, of being driven completely by selfish means, deconstructing how a grifter's nature is driven by selfishness and greed, being out for themselves first and foremost, an ethos that in itself is even stronger than the maternal connection between mother and son.  Frear's direction embraces the style of the noir, almost intentionally making it unclear as to what time period the film is set, featuring heavy use of impressionistic lighting and composition, which along with striking the right tone, feels very much like a noir story for the new generation.  While The Grifter's is well-crafted, and extremely well-acted featuring intriguing characterizations that play off one and other well, the film is too mannerist at times, feeling constricted by the confines of its noir structure, unable to transverse the expectation of the 'noir' archetype, and deliver anything truly unique. 

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