IR Film Review: NIGHTMARE ALLEY [Searchlight]

Guillermo De Toro has always worked in the macabre but normally always works within the context of folklore. With "Nightmare Alley", his context is a little different. Granted this is a remake in most ways of the Tyrone Powers film from the 40s but it does take on some resonance today. It is more a character piece on the corruption of power from a perspective that is both Darwinian but also Machiavellian in way. Bradley Cooper continues to show that (no offense meant), his voice is the star unless he covers up his looks (an irony). "A Star Is Born" was great with him in the role because he was unrecognizable and yet the voice completely resonated. The fact that most people can't even hear his real voice as Rocket in "Guardians" is another notch to his talent but the recognizability (like say a Tom Cruise) can hinder him in a role unless he can cover it up.

Cooper is perfectly adequate and effective but, unlike the last film, there is something missing even the path that the film leads him. Del Toro creates a beautiful back stage perception where everyone is a shyster or a hustler but it not done of malice but because they are good at it. The supporting cast is of course fantastic in their own way but it is Rooney Mara that stands out even though she has less to do than others as Cooper's partner-in-crime per se. This texture is because she is acting more against her grain and yet it seems more mainstream and natural even in Del Toro's world even though her choices from her one/off brilliance as Salenger in David Fincher's "The Girl With The Dragon Tattoo" as well as "Carol" with fellow castmate "Alley" castmate Cate Blanchett show a darker underpinning. This film doesn't play to that because Cooper's darkness is enough but not as riveting as it could be.

One of the letdowns is that Blanchett and Mara are not able to fullly interact (as they did in a different way in "Carol"). It would have brought an inherent other layer to the story. The rest of the players that Cooper's Carlisle interacts with. in their own way, adds to his path since he is a man who tries to operate with no past and yet even when he travels towards something he travels away from nothing. At one point in the movie there is an optimism to Cooper's character that is refreshing but is almost gone in the next scene as a balance to his ambition. It actually is a little too abrupt. David Strathairn is the most subtle of the supporting actors despite obvious maladies of the character but he reinforces the backbone of the film of a 80 year old noir that Del Toro bulked up in terms of heft.

Willem Dafoe is perfectly acceptable as the runner of the circus as well as Ron Perlman as Bruno, the circus strong man...but their intent and plot function is requisitely expected as is Richard Jenkins (though it is fun to see him play mercurial as a nice balance to his more gentle character in "The Shape Of Water"). This character is of course not as a deep but it makes sense. Which brings the last point to Cate Blanchett. She does her best Hepburn (she could have ratcheted up the voice a little more though) but she plays the idea of a caricature with full knowledge almost as if she is a character playing a character playing a character. It is because of this that Cooper, despite being a good actor, just doesn't play on the same field as the great Blanchett. She controls their scenes as she should but it is something more. It is not a put down to Cooper. Very few can. The only one though that comes to mind is Leonardo DiCaprio in "The Aviator".

"Nightmare Alley" moves towards comeuppance as only noirs can...and it will be interesting to see the film perhaps in black and white on screen if it comes to bear. Toni Collette also turns in a nice subtle performance but again many of the characters (some others as well) just dance in a way with Cooper's character as he spirals. Del Toro has brought in a wonderful cast for an old school story that is not revelatory but effective just the same despite being more of an exercise in the genre from a master versus a fully immersive cinematic experience per se. B

By Tim Wassberg