Yes, it's mystery time on the Moor of Faerun.
Today's I'll introduce you to some of the mystery movies around, where the ending means that the pieces of a puzzle fall into place with a logic that seemed impossible in the beginning.
The first one is the most shallow of all, the French Revolution story of the famous detective Vidocq. For those who don't know, Vidocq is Holmes' granddaddy and though he's usually found in books, in this movie he chases a criminal that uses a mirror mask, nicknamed 'The Alchemist'. For some reason The Alchemist has been hunting royalists but there's another connection. As Vidocq is thrown into the flames, it is up to a young writer and Vidocq's drunkard partner to hunt down the criminal in an effort to retrace the detective's steps.
In this visually astonishing movie, maked with some great acting from Gerard Depardieu and Guillaume Canet, it shouldn't be too hard to come to the conclusion before the movie leads you there. There aren't many clues planted along the way, but those who are, are also very obvious.
Second in line is the thrilling masterpiece of Christopher Nolan, "Memento". If you could watch it backwards it would make for the best mystery movie ever as the movies is constructie as a retrospective string of sequences with overlapping margins. The movie tells the story of a man suffering from short-term memory loss whose wife was killed and he starts a life's quest of finding the killer despite his handicap, as police dismissed the case. In the beginning we learn that our hero kills a man in cold blood and from there on we lean how he gathered the information, though it's up to the spectator to put them together as the movie doesn't explain everything along the way and every piece of the retrospective string is surprising and thrilling.
The movie features amazing acting from Guy Pearce and Joe Pantoliano.
Third in line is the 1957's masterpiece '12 Angry Men'. Although this isn't a mystery movie 'per se', it provides great insight into the strings of logic and critical thinking. As the movie begins, we learn about 12 men, 12 jurors, that enter a room to debate towards the outcome of a murder trial were a young man is accused of murdering his father. All evidence seems to point towards a quick and easy 'guily' verdict on which all jurors agree ... except for one, who argues that despite the clarity, the evidence still leaves room for 'reasonable doubt', the key of the american trial system. Everyone else still agrees and the dissenter is given less than one hour to convince the others, or the guilty verdict will be given. At the end of one hour, another juror dissents.
This movie's mainstay cast is the amazing Henry Fonda, in a movie in which the cast is all-male and more amazing, none of the characters has a name (save for Fonda's character, of which we learn his last name is Davies). This a great 'tour de force' that reveals the power of details and how life can hang on those apparently insignificant items of a conversation.
In the fourth place comes the awar-winning movie of 1997, Hanson's 'LA Confidential'. Here we deal with an intrigue nurtured after an LA crime boss is thrown into jail and his gang is quickly disposed of by someone who tries to move in. At every step of the story, new seemingly insignificant details are thrown in, but to those with an eye for details, these are nothing but clues towards unravelling the mystery that surrounds the identity of the new crims boss. This movie could've fared much better if the conclusion wouldn't have been drawn too early in the movie but the story is still fun to put together as each of the three detectives push forward with their investigation. The cast is simply astounding and there's no surprise this one made the Oscars, with the brillian Kevin Spacey holding the poster with Russel Crowe, Guy Peacer, Kim Basinger, David Strathairn, Danny deVito and James Cromwell falling in.
Number five is a mytery classic that stems from a master of detective stories: Agathat Christie, whose award-winning 'Death on the Nile' was ported to the big screen in an award-winning movie bearing the same name. As in the novel, a murder on a Nile steamer pushes famouse detective Hercule Poirot to stretch his gray cells and watch over a group of potential killers and drive them towards a surprsing unravel. The all-start crew (Peter Ustinov, Bette Davis, Mia Farrow, George Kennedy, David Niven and Angela Lansbury) carries you through a story littered with clues that might take an inquisitive mind towards the logical conclusion.
In sixth position comes a serious challanger for what is considered to be the all-time mystery masterpiece (Hitchcock's brilliant investigative story 'Rear Window'). I'm talking of course about Bryan Singer's masterpiece: "The Usual Suspects". Alongside 'Rear Window', it is one of those stories that have carefully placed clues alongside the movie that can help a clear mind to trace the story (hint: carefully examine the guy pissing at the beginning of the movie, and his piss in particular). In New York, an explosion in the harbor litters the water with bodies. From the tragedy, only two people emerge. A handicaped, apparently unscarred and a hungarian mod man who struggles between life and death in hospital. On these information, a customs officer must unravel the mystery surrounding the incident, starting from a police line-up.
The movie is delicious at every step, the actors give an amazing performance while the script is amazing in its perfection. Every character has a distinctive personality and I'm sorry I can't get into that without spoiling some of the plot.
This is a must-see and it features a veritable tour de force from master actors as Kevin Spacey, Stephen Baldwin, Benicio del Toro, Chazz Palminteri, Peter Greene, Kevin Pollack and Gabriel Byrne and the world-famouse line: "give me the keys, you fucking cocksucker!".
And as this last feature is one of my favorite all-time movies, I'll insist on this with a trivia item. This movie is probably the movie with the most improvisation in it as many scenes were not in the original script. Few examples:
- the whole line-up scene was ment to be serious. As all actors failed at that, Singer decided to keep the funniest takes.
- the 'in english, please' demand of the cop at the line-up was improvised, just as was del Toro's response.
- the line 'I'll flip ya, flip ya for real'
- Redfoot's (Greene) flicking of a cigarette into McManus' (Baldwin) face was a moment's improvisation just as Baldwin's reaction to that was. Greene came up with the idea that this gesture was appropriate for his character, but the cigarette that was initially ment to hit Baldwin in the chest hit him in the nose and Singer liked that.
- in the opening, Hockney begins to tell a joke about a naked girl on a car's back seat. For those versed with languages, the ending of that joke can be heard spoken by two hungarian guards in the harbor near the end
- in the flashback takes of Keyser Soze, he is portrayed by a guy from the filming crew. He couldn't straighten his elbows, which can be seen in the way he walks. Keyser Soze was also portrayed by editor Ottman and director Singer himself. In addition, Soze was portrayed by two more actors along the movie, to a total of 5 different people portraying him.