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Man, The

Spike Lee’s compelling new crime thriller “Inside Man” is his most commercial film to date and quite possibly his best work in years. The film is suspenseful and tightly paced, based on a clever screenplay by Russell Gewirtz that involves a puzzling, yet airtight, bank heist/hostage standoff set amidst the urban, racially charged melting pot of New York City.

The strong cast includes a cocky and charismatic Denzel Washington as hostage negotiator Keith Frazier and Chiwetel Ejiofor as his partner Bill Mitchell who are dispatched to the scene to negotiate with the robbery mastermind, Dalton Russell, played by Clive Owen. Despite acting much of the time from behind a mask, Owen turns in a convincing, well nuanced performance as an unusually smart criminal with a conscience, although he occasionally slips out of his American accent to reveal his British origins. Russell proves to be an unexpectedly sharp opponent who is always one step ahead of Frazier and calmly refuses to deviate from his meticulous plan. He frequently outwits Frazier as he engages him in a challenging game of cat and mouse, putting Frazier’s negotiating skills to the test and turning his standoff plan on its tail. Indeed, Russell eventually cleverly manipulates him into investigating the real crime committed many decades ago.   Jodie Foster, in a role distinctly different from her recent work in “Panic Room” and “Flight Plan,” plays mysterious power broker Madeline White who has many shady allegiances along with a hidden agenda that threatens to cause an already unstable situation to spiral out of control. When she enters the picture, it becomes obvious there is more at stake than we first suspected. While her role is underwritten, she nevertheless makes the most of her slick, bitch-on-wheels persona. Willem Dafoe turns in a solid performance as Emergency Services Unit Capt. John Darius. Christopher Plummer plays the Bank’s sly board chairman and uber-capitalist Arthur Case whose dark past comes back to haunt him and who hires White to protect his secret at all costs.

The film launches almost immediately into action with next to no buildup as the bad guys (three men and a woman), disguised as painters, march into the lobby of the Manhattan Trust Bank in New York’s financial district. Using infrared technology, Russell zaps the bank’s surveillance system, then, along with his cohorts, proceeds to take the bank’s employees and customers hostage, forcing them to dress in outfits identical to the intruders and keeping them confused and off balance for the remainder of the film. Russell’s real motives for robbing the bank are never entirely clear, but it becomes obvious as the story unfolds that the object of interest targeted by the robbers is not the money that lies in plain sight in the vault. The introduction early in the story of often amusing flash forward fragments of post-seige hostage interviews provides a welcome break from the film’s intense hostage drama. However, their inclusion also undercuts the film’s dramatic tension by suggesting that the perpetrators got away with their crime and left their hostages unharmed. Also, the revelation of the sensitive contents of Case’s mysterious safe deposit box, while dramatically critical, undermines the story’s credibility since it seems inconceivable that Case would not have destroyed such damning evidence long before now.

Lee proves once again that he is a director with a unique vision and a social conscience who knows how to build and sustain tension while simultaneously mining the racial, sexual and class resentments and making sharp observations about post-9/11 racial profiling, ethnic identity confusion, and racist video games. He delivers some very smart and entertaining action along with a compelling portrait of New York in 2006 that is reflective of its distinct ethnic and cultural diversity. And he takes a fresh and very different approach to the standard crime thriller while also paying homage to the best of the genre from filmmakers in the 1970s, although “Inside Man” is no “Dog Day Afternoon.” Gewirtz’s script has lots of unexpected twists, some very sharp dialogue, and it’s fun watching Russell match wits with Frazier. But that said, the film falls short of building a story that pays off and the ending seems overextended and almost too pat. When you start scratching the surface, some of the film’s major plot points simply don’t add up, and you feel robbed, but you can’t figure out what was taken. Perhaps if Lee and Gewirtz had revealed a bit more about Russell’s motives, the payoff would feel more satisfying.

Cinematographer Matthew Labatique delivers fluid, kinetic camerawork that shows he knows how to keep up with the rough and tumble action. Particularly striking, yet distracting because it calls so much attention to itself, is the extended handheld camerawork that follows the police as they storm the bank and search its cavernous corridors. Also amusingly noteworthy is the way the camera captures Jodie Foster’s body from every conceivable angle to show off her best assets. Donna Berwick’s costume design is smart and character-appropriate, especially Washington’s sharp Panama hat and Foster’s high heels and tight fitting power suits. Terence Blanchard’s dramatic score supports the director’s vision, although at times it overwhelms the action. That said, the Bollywood rap that accompanies the film’s credits is sensational.

“Inside Man” is an enjoyable and entertaining film that goes well with a large tub of popcorn as long as you don’t analyze the plot too closely.

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