The Drop

Release Date: September 12th, 2014
Running Time: 106 minutes
Directed by: Michaël R. Roskam
Written by: Dennis Lehane (adapted from his 2009 short story "Animal Rescue")
Starring: Tom Hardy, James Gandolfini, Noomi Rapace, Matthias Schoenaerts

The Drop is James Gandolfini's last film, and among other things it plays as somewhat of an elegy for the actor who was most known for his iconic mafia boss role in HBO's groundbreaking series The Sopranos. Gandolfini died suddenly from a heart attack at age 51 before the film's release. The character he embodies here is a kind of parallel universe version of Tony Soprano—what he might have been if his life had taken a different twist here or turn there, and if he'd made a few too many mistakes. And the results are quite interesting. Instead of New Jersey the setting is Brooklyn, New York. And instead of being the powerful head of an organized crime family, Gandolfini here plays "Cousin Marv" Stipler—a former tough guy, loan shark, and bar owner turned burned-out, defeated has-been.

It seems that Cousin Marv used to be somewhat of a big shot. While still a relatively small-time gangster, he was well-known and respected in the crime-ridden, blue collar neighbourhood where his eponymously named bar Cousin Marv's is located. Then about 10 years ago a tougher, meaner crew moved in—gangsters from Chechnya who leaned on Marv and forced him to give them ownership of his bar, but let him operate it and keep its name. Gandolfini's characterization of Marv is one of the film's best qualities, and reminds us of what a great actor he was. We see echoes of Tony Soprano yet a wholly different character emerges as well. It's a portrait of a depressed, cynical man who once thought he had it all until he was tested and lost, and now inhabits a sublevel of the criminal underworld. Marv was once his own man, but is now beholden to those who took his former life from him. There are scenes where we see his desperation, such as when the Chechen gangsters visit the bar and Marv behaves in a pathetic, obsequious manner, yet curses them as soon as they leave. He acts as the mere caretaker of the bar which serves as a drop spot for the Chechens—that is, the location where their criminal affiliates leave their illegal takings for safe keeping, to be collected later—hence the title of the film (though perhaps it's a double entendre also implying a "drop" in one's position in life). Marv oversees these drops and subsequent pickups by the Chechens but profits little, having been reduced to a largely servile role at the very place that still bears his name, as a constant reminder of his failure. Gandolfini's final scene, and indeed the last time he appears in any role anywhere, serves as an appropriate epitaph to many of the characters he's played. It's kind of a brilliant performance, and a fitting one for Gandolfini given the tough guy/gangster roles he so frequently inhabited.

But Cousin Marv is not actually the main character here, which is perhaps also fitting given the status of his life. The lead role is instead given to Tom Hardy as Bob Saginowski—Cousin Marv's bartender, sidekick, and as it turns out, his actual cousin. Bob seems to not quite have it all upstairs; he speaks slowly and with occasional odd turns of phrase, in a thick, mumbling Brooklyn accent, and takes a little too long to respond sometimes. Yet despite Bob's offbeat demeanour and generally brooding disposition, there's a cool confidence and steadiness of action that emerges, causing us to think that perhaps he is not what he seems. In the last few years Hardy has achieved regard as one of the greatest actors of his generation, and performances like this show why.

The central plotline revolves around a heist at the bar, and it's through this incident that key character traits of Marv and Bob are revealed. Marv keeps his cool during the robbery, while Bob makes a crucial mistake. But details unfold that reveal the depths of Cousin Marv's desperate criminal manoeuverings surrounding the whole affair. On the surface Marv is motivated by money, but perhaps it's something deeper inside of him, an attempt to regain some semblance of the manhood that he's been stripped of, that really drives him. And he's so out of touch that he can't foresee the consequences of his actions, digging himself deeper into largely self-inflicted misery. Perhaps he's just born to lose. Bob, on the other hand, is calm throughout, speaking in low, brief rumblings and with a perpetually furrowed brow. The exact relationship between the two is unclear at first, but as the story progresses there's a kind of shift in dynamic. Marv initially seems to be the one in charge and Bob is clueless. But it's revealed that Bob may have seen the full picture all along while Marv continues down a pitiful path. This is an aspect of the film that makes it an above-average crime drama; Bob, who we initially think is a simple dope, a petty criminal lackey, shows layers of complexity, as does Cousin Marv, as we gradually get details of their backstories juxtaposed with their present behaviour.

A subplot involves Bob finding a beat-up Pit Bull puppy in a garbage can outside of a neighbourhood woman's house. She's a waitress, Nadia (Noomi Rapace), who's been around the block, with a few large scars on her throat. She doesn't know whose dog it is, and tells Bob that he has to take it because she can't. He's not sure, and takes the prospect of owning and caring for a dog almost too seriously, displaying a childlike sensibility. When Nadia tells Bob that to give the pup to a shelter may result in its adoption by irresponsible owners, Bob decides to keep it—as long as Nadia will help with training it. She agrees, and they become friends. Nadia is damaged, physically and emotionally, and Bob is withdrawn and inarticulate. They're drawn to each other through the dog incident, but more important is what the dog symbolizes—an opportunity to nurture a creature in ways that neither of these two characters have themselves been nurtured. Like Marv and Bob, Nadia's complexity is slowly revealed throughout the film, from initially seeming like a stereotypical woman-in-distress supporting character to one whose presence is integral to the main narrative.

Before long it comes to light that Nadia is not just a random waitress from the neighbourhood, but that the appearance of the dog in her trash can is connected to a dangerous, ne'er-do-well ex-boyfriend who also has past ties to Marv's bar. This character, named Eric Deeds (played to creepy lowlife perfection by Matthias Schoenaerts), becomes embroiled in the lives of Bob, Nadia, Marv, and the puppy. And it all leads up to a satisfying climax at Cousin Marv's bar on the night of the Super Bowl—the biggest night of the year for the bar's cash drops.

There are a few aspects of this film which qualify it as a standard entry into the American crime drama genre, but even more which raise it a bit higher. One of the lesser qualities is the characterization of the Chechen gangsters. They're pretty typical, cookie-cutter badasses: leather jackets, stern expressions, speak little and always with intimidating undertones. And of course, they're foreign. Likewise there's your usual local cop sniffing around. But among the film’s greater qualities is the way that the central characters’ struggles, contradictions, and backstories are gradually revealed. This is all done by way of dialogue, never flashbacks, and it rarely seems like tacked-on exposition, but rather natural conversation.

Dialogue gems are peppered throughout, such as when Marv refers to the Chechen gangsters as "Chechnyans", and Bob corrects him, saying, "You mean Chechens—they're from Chechnya, but they're called Chechens. The Irish are from Ireland, but you don't call them Irelandians." Another dialogue highlight is when Bob and Nadia discuss a name for the dog. Bob says he was thinking of "Rocco" at first, but later thought "Mike" would be better. Nadia says that Mike's not a good name for a dog, better go with Rocco. Bob concedes, but says he still doesn't see what's wrong with Mike. In addition to providing some light humour, these dialogue examples also reveal characteristics of the key players, especially Bob. He's simple, sensitive, and thoughtful—like a child. The brilliant Noomi Rapace isn't given a whole lot to do in the supporting role that she inhabits here, but nails every scene she's in, adding another entry into her repertoire of damaged and vulnerable yet simultaneously strong and resilient female characters. She's one of those actresses who seems to be able to cry on a whim. Gandolfini, as mentioned, is excellent in his final role, and Hardy likewise creates another of his strange yet convincing characters.

The screenplay is written by Dennis Lehane, adapted from his own short story "Animal Rescue". Upon viewing the film, the title of the original work implies more than just saving a castaway puppy, but also perhaps symbolizes the relationship of two people like Bob and Nadia who offer some semblance of solace to each other in the otherwise dark, urban jungle environment populated by criminal "animals".

The familiar crime film conventions here are elevated to an above-average result overall, by way of competent writing by Lehane and solid direction by Michaël R. Roskam. Those wanting to see the kind of crime film that features a lot of brutal killings by violent psychopaths might think the film slow, and be disappointed. But this one's not like that—it's more character-driven. And therein lies its strength. There is some violence, but when it happens it's for narratively appropriate reasons, and not gratuitous. All too often filmmakers seem to think that crime stories must feature the most flashy, violent killers around in order to be interesting. So it's refreshing to see a movie like The Drop that doesn't rely on that, but rather more so on a sound script and great acting. While not likely to go down as a cinematic masterpiece, The Drop is nonetheless a must-see for fans of the three main actors or of the American crime drama genre.

Rating (out of 5): ★★★★
• Nik Dobrinsky / Boy Drinks Ink
March 25th, 2015