While casually flipping through channels the other night, I landed on TCM’s presentation of “Friedkin Uncut.” It was a film I had enjoyed and previously reviewed, offering a pleasant trip down memory lane as I killed some time. Quentin Tarantino’s reflections on the significance of casting in filmmaking caught my attention. He questioned the common notion that casting comprises 90 percent of the filmmaking process, suggesting that perhaps 80 percent is a more accurate estimate.
I revisited this idea while watching the latest film directed by Philip Noyce, with a script by Richard Wenk adapting Victor Gischler’s novel, titled “Fast Charlie.” The plot follows a mob fixer contemplating retirement, forced to navigate criminal reorganization that could potentially unfavorably end his career. In typical genre fashion, the assumption is that the resourceful and ruthless protagonist, Fast Charlie, will cleverly navigate his challenges.
Familiar as this premise may be, it doesn’t breed contempt but rather offers a pleasurable experience, largely thanks to the exceptional casting. Pierce Brosnan takes on the role of Charlie Swift, a mob operative based in Biloxi, and he immerses himself in a Southern accent broader than the Mississippi River. Brosnan’s portrayal, especially in the movie’s opening scene, where Charlie finds himself in a junkyard, adds depth to the character. The narrative unfolds as Charlie reflects on his life and the unexpected care he feels for it.
Charlie’s journey takes a turn when he carries out a hit on a man named Rollo, as requested by his bosses, Sol and Stan, aiming to assist an up-and-coming individual named Beggar. The engaging dynamics between characters, including the introduction of a young accomplice nicknamed “Blade,” contribute to the film’s appeal. Notably, James Caan delivers a poignant and charming performance as Charlie’s immediate boss, Stan, who is battling Alzheimer’s.
As the plot thickens with Beggar’s ambitious plans and a criminal coup, the film reveals its witty and mayhem-filled dialogue, reminiscent of the Elmore Leonard/Carl Hiassen style. The interactions between Brosnan’s Charlie and Morena Baccarin’s Marcie, a taxidermist, add a touch of dry humor to the narrative. The ensemble cast, featuring Sharon Gless as a spectacularly vulgar mother-in-law, contributes to the film’s entertainment value.
Director Noyce’s adept handling of the material, with fluidity, precision, and a discerning taste, ensures that this engaging cast doesn’t flounder but rather sails smoothly to a satisfying conclusion. While “Fast Charlie” may not be a groundbreaking cinematic masterpiece, it certainly serves as a delightful evening’s entertainment. Kudos to all involved for delivering a compelling criminal fable that hits the mark.