The Brothers Bloom

I just recommended The Brothers Bloom to three different people within twenty-four hours of seeing the film. And now I’m recommending the movie to you. So, yes, even without someone like Jason Statham tearing up the scenery, it was pretty good.

The Brothers Bloom tells the story of brothers Stephen (Mark Ruffalo) and Bloom (Adrien Brody), con men from their childhoods, looking for a last score with reclusive heiress, Penelope (Rachel Weisz), as their unwitting mark. How hard is it to fool a shut-in from Jersey? Not that difficult, even if she is brilliant. What follows is a whirlwind adventure with smuggling, lies, thunderstorms, and first kisses, as we wait to discover if Stephen will ever let Bloom live a life outside of the con – Stephen lives for it and the stories he creates, while Bloom has grown up never experiencing what life is truly like.

Rian Johnson, writer and director, crafts a smart, intelligent and fantastical little film. His characters are charming even when they lie, and he creates a world at once lost in time while still occasionally referencing a cell phone, skateboarding, and rap music. Every costume choice, from the color of a vest or dress to the decision on a modern suit versus an old, three piece classic, adds to the atmosphere of story and characters living in an old world, experiencing old adventures. The entire film feels Old Hollywood – no blockbuster explosions and car chases or asteroids falling from the sky. But we do focus on story and on characters, and explore themes and experiences that are universal, outside of time and relevant no matter the decade or the plot.

Johnson also needs to accept credit for his casting choices: Adrien Brody, Mark Ruffalo, and Rachel Weisz. I liked these actors though never felt compelled to follow them into a movie; after watching The Brothers Bloom, I’m sold on each of them. Though their characters are archetypes, the actors make them individuals, fleshing out sparse, smart dialogue and adding nuance and flavor, and I found a new appreciation for each of them. Rinko Kikuchi, silent for nearly the entire film, expresses monologues with a look. With little to say, she nevertheless creates a fully formed character whose presence feels just as essential as those with speaking parts.

The only thing lacking, possibly, is the “it” factor – that which leaves you in your seat during the credits, saying, “Wow.” However, you might find, like myself, that a few hours later, as you’re still thinking about the movie or maybe talking it over with someone, or even recommending it to a friend, that you like it more and more. The “punch” isn’t quite there; the movie ends almost too quickly once it reaches its climax. Still, that doesn’t matter. Johnson has created such a simple, adventurous little world that you don’t feel robbed. Or conned, in this case.

As Steven Bloom tells us early on, the key to a good con is that when it’s over, everybody gets what they want. That’s a big promise for a filmmaker to make, but since I’m already planning to see this in the theaters a second time, I think it’s safe to say Stephen’s right. We all win.