The Shadow is not a perfect film, but there’s so much good about it. Besides that its great cast–Jonathan Winters is the only weak link–besides that its beautifully constructed screenplay–the best constructed one I can think of… I haven’t seen this film since the theater, so I was sixteen. I don’t remember liking it. I didn’t like Alec Baldwin back then. Actually, my opinion of him has only changed with his recent work, but he’s good. I do have to dislike The Shadow a little, since its commercial and critical failure ended Penelope Ann Miller’s career….
Russell Mulcahy always gets a measure of respect from film people. Even film snobs. Well, the film snobs I used to work with, anyway. Highlander is a terrible film with bad writing and Christopher Lambert. However, Mulcahy did a great job directing (and Clancy Brown was great). If anyone deserves a $150 million movie, it’s Mulcahy, or at least the Mulcahy of the 1990s. The Shadow is a textbook example of good, engaging filmmaking. Mulcahy has a number of long-shots of Baldwin and Miller on darkened sidewalks. Sure, Steven Spielberg used to be a better director and maybe–maybe–he still is, but I can’t remember the last time Spielberg’s composition engaged my brain. Oh, wait. Yeah, no, I do. Close Encounters.
About halfway through The Shadow, I realized my post was going to be a lot more positive than I originally thought. The film starts with silly scene of Baldwin going native in 1920s China as a warlord and I spent awhile wishing that scene away. A half hour later, I wasn’t thinking of that scene or its failings at all. The Shadow moves. There are a lot of characters and a lot of scenes–but the most memorable scenes are still quite ones, except the finale, when Baldwin looks more like Howard Chaykin’s ultra-violent Shadow from the 1980s DC Comics revival. The memorable scenes are the ones between Miller and Baldwin–the romantic ones–and Baldwin and John Lone, who is the bad guy. The screenplay is exciting to experience. It’s why I went into Panic Room thinking it would be good. Because I loved David Koepp in the 1990s. I’m going to rewatch Carlito’s Way again, I loved this screenplay so much.
As frightening as it sounds (even to me)–The Shadow has reinvigorated my interest in film, I’m adding DVD after DVD to both Netflix and Blockbuster queues. It’s amazing storytelling….
I can’t explain it. You’ll just have to sit down and watch this film.
Directed by Russell Mulcahy; screenplay by David Koepp, based on the character created by Walter B. Gibson; director of photography, Stephen H. Burum; edited by Peter Honess and Beth Jochem Besterveld; music by Jerry Goldsmith; production designer, Joseph C. Nemec III; produced by Martin Bregman, Willi Baer and Michael S. Bregman; released by Universal Pictures.
Starring Alec Baldwin (Lamont Cranston / The Shadow), Penelope Ann Miller (Margo Lane), John Lone (Shiwan Khan), Peter Boyle (Moe), Tim Curry (Farley Claymore), Ian McKellen (Dr. Reinhardt Lane) and Jonathan Winters (Wainwright Barth).