I was going to start saying the amount of Elmore Leonard adaptations had dwindled, peaking after soon Get Shorty, Out of Sight and Jackie Brown. However, it appears Leonard adaptations are a mainstay, whether theatrically or–mostly–on television. Gold Coast actually might not even have come from that period (except David Caruso’s hero is in the Out of Sight mold), given director Peter Weller’s experience with Leonard (starring in an adaptation scripted by Leonard) on Cat Chaser. But whatever. More interestingly–and more depressingly–Gold Coast was supposed to kick off Weller’s career as a director, but then he dropped out of his first theatrical (Incognito). It’s too bad, because even though there a few broken moments in the film, Weller does a good job. The worst broken moment is a car shot, on the hood, Caruso driving, the moving landscape visible, through the driver-side window, behind him. The camera’s tilted and it’s clear what kind of shot it’s supposed to be and it doesn’t work because it’s not a Cars music video. It actually reminds me a lot of Sin City or something along those lines. Or a Cars music video. Otherwise, besides a handful of bad cuts, Weller does well. His handling is scary when it needs to be and delicate and tender and sad when it needs to be.
Caruso doesn’t hurt. Gold Coast features his best leading man work, even if the script occasionally fails him. Caruso’s the lead in Gold Coast in a movie star kind of way–much like Clooney in Out of Sight or Travolta in Get Shorty, which is what makes Gold Coast feel like a Leonard adaptation as opposed to a mean-spirited Carl Hiaasen–and the script does everything it can to sabotage the film as an excellent character study. Caruso and Weller seem to work very well together–the best directed scenes are either the ones with Caruso or with scene-chewing villain Jeff Kober–and the potential for the film really comes out, in the second half, when Caruso’s free of Marg Helgenberger’s clutches. Caruso’s fine in the scenes with Helgenberger, she’s exceptionally bad. She’s exceptionally bad throughout and the only thing keeping her from ruining the film is the other actors.
I can’t forget Kober, but I need to get the script out of the way. The film ought to be about a man who helps a woman who is in trouble, but Gold Coast gets so wrapped up in all the details about the woman’s trouble–wasting time going over it and over it–it loses the basic idea. It’s almost as much about Helgenberger’s maid as it is anyone else. And these characters aren’t quirkily amusing, they’re defined by the harm Kober’s villain threatens to do to them. It’s a mess. A solid Scott Frank rewrite and a real female lead would have turned Cold Coast into something fantastic.
Kober’s crazy villain is, strangely, just the kind of role Weller probably would have broken out with if he’d ever done one. Caruso’s got to be reserved, because if he tried to make any noise, Koger would just drown him out. Fantastic villain.
Rafael Báez and Wanda De Jesus are both very good as well. The scenes they’re in with Caruso are excellent, indicative of a much better film. (The less said about Richard Bradford’s embarrassing cameo the better).
So, in conclusion, get rid of Helgenberger and fix the script and Gold Coast might have been something. As it stands, it’s a fine show of Weller’s promise as a director and it’s a great Caruso performance.
Directed by Peter Weller; screenplay by Harley Peyton, based on the novel by Elmore Leonard; director of photography, Jacek Laskus; edited by Dean Goodhill; music by Peter Harris; production designer, Maria Rebman Caso; produced by Richard Maynard, Jana Sue Mernel and Weller; aired by Showtime.
Starring David Caruso (Maguire), Marg Helgenberger (Karen DiCilia), Jeff Kober (Roland Crowe), Barry Primus (Ed Grossi), Wanda De Jesus (Vivian), Richard Bradford (Frank DiCilia), Rafael Báez (Jesus) and Melissa Hickey (Martha).