I always thought Gina Gershon got top billing for Bound–even though she’s only the lead for the first third or so–but it’s actually Jennifer Tilly, which is somewhat more appropriate. I say somewhat because at a certain point, Tilly too loses the spotlight. For a good twenty minutes in the middle, the film belongs to Joe Pantoliano.
Pantoliano’s performance here is probably his best; even though it’s firmly in his oeuvre of slimy weirdos… there’s something singular about this one. He’s always scary, even before he’s supposed to be, because his character is so clearly disturbed (he’s a dissatisfied middle-level mobster).
But Pantoliano doesn’t take over until almost halfway through–Bound takes place over a week or so, following Gershon getting a job renovating the apartment next to Tilly’s–and during the Gershon and Tilly romance, it’s got to be perfect and it is perfect.
While the film definitely has its roots in film noir, the Wachowskis break certain rules. Making it about a lesbian couple isn’t one of those rules. In fact, their carefulness in showing that relationship–especially exploring Tilly’s role in it–is what makes Bound different and some of what makes it great. The dialogue in these scenes is superior.
There’re some great supporting performances–John P. Ryan, Christopher Meloni.
It has a small cast in a small film. Bound’s the greatest play adapted to screen (of an original screenplay).
Bound is brilliant–so brilliant, I didn’t even make any Speed Racer jokes.
Directed by Lana and Lilly Wachowski; written by the Wachowskis; director of photography, Bill Pope; edited by Zach Staenberg; music by Don Davis; production designer, Eve Cauley; produced by Stuart Boros and Andrew Lazar; released by Gramercy Pictures.
Starring Jennifer Tilly (Violet), Gina Gershon (Corky), Joe Pantoliano (Caesar), John P. Ryan (Micky Malnato), Christopher Meloni (Johnnie Marzzone), Richard C. Sarafian (Gino Marzzone) and Mary Mara (Sue the Bartender).