DATELINE: Attorney-Client Privilege
In 1996 came another of those lawyer with killer client movies. This one featured Richard Gere as the hotshot attorney, and young Edward Norton as the simpleton altar boy who butchers the archbishop.
Smarmy, with a wink, and an attitude to put the screws to anyone in his way, infamous attorney Richard Gere defends mobsters (Steven Bauer) and anyone else who will cause his picture to adorn the city’s magazines.
Laura Linney is his antagonist in the prosecutor’s office and dismisses him after a one-night stand that “lasted six months.” Her buttons can be pushed, and she pushes back. In light of the Hollywood mistreatment of women, the brazen sexism of the Gere character is a bit too much. However, it fits in with the attitudes he exhibits.
Alfre Woodard is the judge who is not about to let her courtroom become a place where Gere can let loose his vendettas. The corrupt city prosecutors are about as hooked into mob ventures as the church in this cynical movie.
This time the archbishop isn’t diddling the boys, only videotaping their antics with hired girls. What a change of pace!
Norton seems to play the hillbilly boy brought to the big city by the slick priest. However, neuropsychiatrist Frances McDormand isn’t quite convinced during the 60 hours of conversation she holds with the young choir boy.
Gere uses a bag of tricks to acquit the young man of the heinous crime (a word he claims is too fancy for the dumb jury).
The growing twisted jazz score indicates that we are in film noir territory, and come-uppance is around the corner. Movie is well-done and has fine performances, though we feel like we have been there in several similar movies, most notably with Keanu Reeves last year in The Whole Truth and Gary Oldman a few years back in Criminal Law. They had client troubles too.
You could do worse than pay attention here.