Review of Carlito's Way (1993) by Jackson M — 22 Aug 2014

De Palma's "Carlito's Way" opens with a lopping tilt shot that continually shifts in each direction to reflect the disarray of death. If first shots were any indication on the problems that could be embedded within a film, then De Palma's gangster flick most certainly epitomizes this belief as the directors continual use of the tilt, pan and tracking shot reflects the films most fundamental problem: style over substance. And while the narrative deals with the hackneyed thematic of the past (or former ghosts) continually attaching themselves to the present, it cannot save De Palma from displaying his obvious self-indulgence in visual trickery. At times, the various tracking shots could provide a sense of energy that the film is clearly lacking and also enhance the atmosphere of the internal world that De Palma is representing (one shot clearly influencing Anderson's 'Boogie Nights'), however, the tracking shot is used that often that the visual technique eventually becomes tedious.

Despite the bad, Al Pacino (and Penn) is good as always. And while the Puerto Rican accent is at times jarring, his performance most certainly elevates the prototypical been-there-done-that gangster. However, the character would of much benefited from the removal of internal narration as much of the writing is extremely generic ("there is a line you cross, you don't ever come back from"). Carlito as a character seems so much more real when Pacino conveys the internal difficulties with subtle movements (a simply face expression or hand gesture) rather than a monologue that (like the camera movements) becomes tedious. Furthermore, while De Palma does place emphasis on the characters, mainly the relationship between Carlito and Gail which is at times beautifully represented by the directors symbolic use of mirrors that tend to the film thematically, the relationship is undeniably bogged down buy some cheesy writing ("you said you wouldn't break my heart") and some clunky execution on De Palma's half (cue Joe Cocker's "You are so beautiful"). All in all, while De Palma displays the usual visual delights, superbly crafted sequences and a performance by Pacino (and Penn) that truly elevates a typical character, these pleasures cannot hide the fact that "Carlito's Way" is overcooked with De Palma's continues camera movements that attempt to draw your attention away from the lack of substance and writing that is undeniably cheesy.