Ocean's Thirteen

Despite its impressive box office returns, Ocean’s Twelve (2004) was considered something of a disappointment by its director Steven Soderbergh who felt that the plot was too complicated. While not quite as fun as Ocean’s Eleven (2001), it was a fine film in its own right – one that had a more satisfying emotional pay-off and doesn’t deserve the lousy reputation that it seems to have. Ocean’s Thirteen (2007) was seen as a return to the fun, breezy vibe of the first film by bringing it back to Las Vegas with style. The result was a very satisfying conclusion to the Ocean’s films.

As the revenge picture cliché goes, this time it’s personal. When Reuben Tishkoff (Elliott Gould) is muscled out of a business deal by slick businessman Willy Bank (Al Pacino), resulting in a heart attack, Danny Ocean (George Clooney) and his crew reunite for one last job: to ruin the opening night of Bank’s casino, The Bank, by making sure he loses a huge amount of money, which involves rigging all the games and slot machines. Bank wants the Five Diamond Award – the top accolade for hotels and will do anything to get it. Danny and the boys use this as a way to get at Bank. To this end, they devise an elaborate plan with the help of their arch-nemesis Terry Benedict (Andy Garcia) who bankrolls the operation. They also bring in Roman Nagel (Eddie Izzard) from Ocean’s Twelve to crack a state-of-the-art artificial intelligence security system.

Soderbergh kicks things off rather stylishly as we get a beautiful shot of Rusty Ryan (Brad Pitt) walking across a runaway tarmac to an awaiting plane at dusk with the sky an impossibly deep dark blue that, accompanied by David Holmes’ groovy score, is absolutely breathtaking. Once again, the director shoots the hell out of the film by employing all sorts of zoom ins and outs, pans and split-screens that, along with a saturated color scheme, keeps things visually interesting.

This time out, Matt Damon gets a juicy subplot where he goes undercover as Lenny Pepperidge, the assistant to a Mr. Weng (Shaobo Qin as The Amazing Yen, also undercover), a very high roller, in order to get close to Bank’s lovely assistant, Abigail Sponder (Ellen Barkin). Part of his disguise involves wearing a ridiculous fake long nose – a sly fuck you to Harvey Weinstein who wouldn’t let Damon wear said nose for his character in Terry Gilliam’s The Brother’s Grimm (2005) because he felt it would obscure the actor’s good looks and hurt the film’s box office potential. Well, it didn’t hurt Ocean’s Thirteen box office as the film went on to gross a very respectable $311 million worldwide.

It is also a lot of fun to see Ellen Barkin reunited with her Sea of Love (1989) co-star Al Pacino. She appears to be having a good time playing a confident businesswoman succumbing to Damon’s “seductive” charms. It is also fun to see Pacino go off autopilot for a change and sink his teeth into a juicy bad guy role. Who else could Soderbergh get to pose as a credible threat to the likes of George Clooney and Brad Pitt but someone of the legendary star caliber like Pacino? He plays Bank like the offspring of his take on Ricky Roma from Glengarry Glen Ross (1992) and Gordon Gekko from Wall Street (1987) – a smooth-talking unscrupulous bastard. In another nice bit of casting, the inventor of the artificial intelligence security system is played by none other than Julian Sands, an actor whose big break through came in A Room with A View (1985) but whose career settled into mostly direct-to-home video fare so it was a pleasant surprise to see him appear in a big mainstream film like Ocean’s Thirteen.

Another amusing subplot involves Virgil Malloy (Casey Affleck, sporting a ridiculous-looking mustache) organizing a revolution/strike among the workers at a dice-making factory in Mexico. He goes from complaining about a lack of air conditioning to tossing Molotov cocktails on the strike lines. At one point, he and his fellow co-workers drown their sorrows at a local bar and Virgil asks them, “Have all of you forgotten Zapata?” He goes on to offer inspirational words that fire them up. How this whole subplot plays out is quite funny. In another nice twist, Terry Benedict is helping Danny out albeit with all kinds of conditions. After all, he resents Bank’s lack of taste and the competition he represents. There can only be on top dog in Vegas and Benedict clearly feels that he is the one. Andy Garcia looks like he relished the opportunity to be in on the joke instead of being the target as he was in the last two films.

While working on Ocean’s Twelve, Steven Soderbergh began thinking about Ocean’s Thirteen. He thought about how fun it would be to set it back in Las Vegas. The motivation to make the film was a desire to work with everyone again but all eleven cast members had to want to do it. Producer Jerry Weintraub contacted them 18 months before hand and told them filming would take place during the summer of 2006 and to clear their schedules. He was able to find a way to juggle all these movie stars’ busy lives and add Al Pacino and Ellen Barkin into the mix.

For the film’s story, Soderbergh felt that Danny and his crew weren’t driven entirely by money and that they would reunite for friendship and revenge. The director came up with the notion of Reuben being betrayed and his friends helping him out. Weintraub hired Brian Koppelman and David Levien to write the screenplay. They had written the script for Rounders (1998) and created the gambling television cable show Tilt, and so they were familiar with the world of con men and gamblers. Soderbergh and Weintraub were both big admirers of Rounders and the director met with the screenwriters in New York City over lunch. They talked about great con movies, the nature of heists, and how the characters had evolved since Ocean’s Eleven. Within minutes, Soderbergh knew they were who he wanted to write the script and were working on it within minutes: “There was not a long list of people that we thought could step into this specific universe and pick up the language and the sense of humor.”

Koppelman and Levien had spent years exploring Vegas culture and the gambling lifestyle. They had every book they could find about con artists and thieves. Early on, Soderbergh told them that he wanted the film’s focus to be on the friendship between Danny and his crew. They understood that getting revenge on Willy Bank was what drove the entire story of Ocean’s Thirteen. They also wanted to “’flip’ the casino so that the patrons would win every time, which would spell disaster for Bank.” Soderbergh also told them that the bad guy should be a casino owner and they imagined Al Pacino and wrote Bank with him in mind. George Clooney also offered some ideas, mostly things to do with the revenge scheme that reunited the crew.

Some exterior scenes were shot in Las Vegas, but the casino interiors were mostly shot on one of the largest soundstages on the Warner Bros. lot in Los Angeles because it would have taken too long to film in actual casinos as they had done with Ocean’s Eleven. Soderbergh said, “In order to get the shots that I wanted, I needed to completely control the environment.” He instructed production designer Philip Messina to build a hotel and casino that would reflect Bank and his huge ego. Messina decided to go with a quasi-Asian theme and make it visually overwhelming. He purposely broke the rules in Vegas by designing a multi-level gaming floor because the production didn’t have a lot of horizontal space to work with.

Much like with Ocean’s Twelve, Ocean’s Thirteen received mixed reviews from critics. In her review for The New York Times, Manohla Dargis praised Soderbergh’s direction: “Playing inside the box and out, he has learned to go against the grain while also going with the flow. In Ocean’s Thirteen he proves that in spades by using color like Kandinsky and hanging a funny mustache on Mr. Clooney’s luscious mug, having become a genius of the system he so often resists.” USA Today gave the film three out of four stars and Claudia Puig wrote, “As escapist entertainments go, Thirteen is far from unlucky: It's breezy, clever fun and ridiculously easy on the eyes.” The Chicago Reader’s Jonathan Rosenbaum wrote, “Predictably adolescent and smarmy, with the mix of sentimentality and cynical flippancy that's becoming Steven Soderbergh's specialty (even when he's pretending to make art films), this is chewing gum for the eyes and ears, and not bad as such.” In his review for the Los Angeles Times, Kenneth Turn felt that it was better than Ocean’s Twelve but not as good as Eleven: “Though it's certainly serviceable as the second sequel to a remake, it lacks the brio and élan that made the 2001 film such a treat.”

On the other hand, Roger Ebert gave the film two-and-a-half stars out of four and wrote, “Ocean's Thirteen proceeds with insouciant dialogue, studied casualness, and a lotta stuff happening, none of which I cared much about because the movie doesn't pause to develop the characters, who are forced to make do with their movie-star personas.” In his review for The New York Observer, Andrew Sarris wrote, “for long stretches of the proceedings, Mr. Soderbergh seems to be trying to distract us from the suspenseless inevitability of the plot with semi-abstract rainbowish splashes of color.” Finally, the Washington Post’s Stephen Hunter wrote, “It's maybe halfway between okay and not bad. If being about average were a sin, it'd be headed straight to Hell on a bobsled.”

Like Ocean’s Eleven, Ocean’s Thirteen pays tribute to the classic era of Vegas as Danny and co. restore Reuben’s honor. He’s an old school player who still believes in following a code and prides himself in being part of a select group of insiders that got to shake Frank Sinatra’s hand back in the day. Like Benedict, Bank represents the current corporate mentality of making money over the personal touch that the Mob-run casinos used to provide. If the first two films were about Danny and Rusty’s respective relationships with the loves of their lives, then Ocean’s Thirteen is about their friendship with Reuben. He mentored them when they were just starting out and taught them about respecting history as well as those who came before them. Like with the previous films, going after the bad guy is a matter of personal honor and hitting them where it hurts – in Bank’s case it’s his monster ego. Ocean’s Thirteen ends much like Ocean’s Eleven did thus bringing the trilogy full circle and with a truly satisfying conclusion as the bad guy gets what’s coming to him and Reuben’s honor is restored. Likewise, the film did very well at the box office and garnered fairly positive reviews going out on a well-deserved high note. It serves as an example of a star-studded big budget Hollywood film that entertains without insulting your intelligence.

Eddie and the Cruisers

When Eddie and the Cruisers came out in 1983 it was either ignored or received negatively by critics and performed poorly at the box office. However, over the years it has quietly cultivated a small but dedicated cult following. The film is primarily a mystery – what happened to musician Eddie Wilson? – and it also an unabashed love letter to rock ‘n’ roll and the New Jersey shore in the 1960s. It has been over 25 years since the film was released and it is high time for a re-evaluation of this under-appreciated gem.

Maggie Foley (Ellen Barkin) is a journalist for Media magazine and is doing a retrospective piece on Eddie and the Cruisers, a New Jersey bar band that was a minor sensation in the 1960s with one hit record and the top song in country during the summer of 1963. The band were working on an ambitious follow-up when lead singer Eddie Wilson (Michael Pare) drove his car off a pier and met with a watery demise on March 15, 1964. Or did he? No body was found. Maggie’s hook is that maybe Eddie didn’t die. She draws a parallel between him and French poet Arthur Rimbaud, who like Eddie, pulled a disappearing act at the height of his popularity while striving for perfection in his art. Now, everyone is looking for the master tapes of A Season in Hell, the album that was to be Eddie’s magnum opus, and which also disappeared only a day after Eddie vanished.

Through a series of flashbacks from all of the surviving band members, we see the rise and fall of Eddie and the Cruisers. The film is told predominantly from the point-of-view of Frank “The Wordman” Ridgeway (Tom Berenger), the band’s piano player and lyricist. He teaches English in high school now but Maggie’s questions bring all the old memories flooding back. The first flashback takes us back to 1962, while President John F. Kennedy was still in the White House, and when the United States was still a relatively innocent and hopeful country. Eddie and the Cruisers meet Frank at a bar in the Jersey Shore. Sal Amato (Matthew Laurance), their bass player, has been writing their songs but they aren’t enough for Eddie who tells him, “it just ain’t what I was looking for.” Eddie spots Frank and asks him what he thinks. Frank impresses Eddie with his knowledge of writing when he points out that Sal’s song needs a caesura, “a timely pause, a kind of strategic silence.” This is pretty high-falootin’ stuff for a rock ‘n’ roll movie and an indicator that this film aspires to be something different.

Eddie dreams of creating music that endures and director Martin Davidson juxtaposes these almost wistful sentiments with Sal’s contemporary Cruisers revival that is pure Las Vegas cheese, bastardizing the music as a lame lounge act where he finally gets to front the band. He embodies the very thing that Eddie was against – prostituting yourself instead of remaining true to the music. Sal’s version of the Cruisers, complete with an Eddie wannabe, is like when you see Lynyrd Skynyrd with only one original member of the band left – a pale imitation of its former self.

Davidson has said that the inspiration for the film came from a desire to "get all my feelings about the music of the last 30 years of rock music into it.” He optioned P.F. Kluge’s novel of the same name with his own money and at great financial risk. He wrote the screenplay with Arlene Davidson and decided to use a Citizen Kane-style story structure. He said in an interview, “That was in my head: the search.” He made a deal with Time-Life, a company that was going into the moviemaking business. However, they quickly exited the business after making two films that were not financially successful and Davidson’s project was left high and dry. He was understandably upset and a couple days later he went out to dinner and ran into a secretary who worked on the first film he had made. Davidson told her what had happened to his film and she gave his script for Eddie and the Cruisers to her business partners. In a relatively short time a deal was struck with a company called Aurora and Davidson was given a $6 million budget. Aurora made only three films – The Secret of NIMH (1982), Heart Like a Wheel (1983), and his film.

In order to get a credible looking and sounding band for the film, Davidson hired Kenny Vance, one of the original members of Jay and the Americans. He showed Davidson his scrapbook, the places they performed, the car they drove in, and things like how they transported their instruments. Vance also told Davidson stories about his band, some of which he incorporated into the script. Vance asked Davidson to describe his fictious band and what their music sounded like. Initially, he said that the Cruisers’ sound resembled Dion and the Belmonts but when they meet Frank they had elements of Jim Morrison and The Doors. However, Davidson did not want to lose sight of the fact that the Cruisers were essentially a Jersey bar band and he thought of Bruce Springsteen and the E Street Band. Davidson told Vance to find him someone that could produce music that contained elements of those three bands. Davidson was getting close to rehearsals when Vance called him and told him that he had found the band – John Cafferty and the Beaver Brown Band from Providence, Rhode Island. Davidson met them and realized that they closely resembled the band as described in the script, right down to a black saxophone player, whom he actually cast in the film. Initially Cafferty was hired to write a few songs for the film but he did such a good job of capturing the feeling of the 1960s and the 1980s that Davidson asked him to score the film

Tom Berenger did not try to learn how to play the piano for the film but did practice keyboards for hours in his trailer to at least create the illusion that he could play. Matthew Laurance actually learned how to play the bass through rehearsals. Michael Pare said of his role in the film that it was "a thrill I've never experienced. It's a really weird high. For a few moments, you feel like a king, a god. It's scary, a dangerous feeling. If you take it too seriously." Davidson had the actors who played in Eddie's band rehearse as if they were getting ready for a real concert. Pare remembers, "The first time we played together – as a band – was a college concert. An odd thing happened. At first, the extras simply did what they were told. Then, as the music heated up, so did the audience. They weren't play-acting anymore. The screaming, stomping and applause became spontaneous.” Davidson recalls, "One by one, kids began standing up in their seats, screaming and raising their hands in rhythmic applause. A few girls made a dash for the stage, tearing at Michael's shirt. We certainly hadn't told them to do that. But we kept the cameras rolling.”

The filmmakers do a pretty good job recreating the period details on a modest budget at best. There’s the cool cars, the clothes, and so on, but more importantly there is a tangible atmosphere of simpler times and nostalgia. This is encapsulated in the straight-ahead rock ‘n’ roll music of the Cruisers that sounds a lot like early Springsteen. There is also a little bit of period music, most notably Del Shannon’s “Runaway,” that is used to immediately transport you back to that time. As soon you hear that distinctive song it instantly invokes that period and there is no question where we are.

What Eddie and the Cruisers nails so well is the dynamic between the members in the band, like how Sal gets on Eddie’s nerves, or how a romance develops between Frank and Joann Carlino (Helen Schneider), the band’s back-up singer. Davidson’s film shows how the band members bicker among each other but come together when it counts – playing live, where they know how to energize an audience. The film presents several band archetypes – the charismatic lead singer, the junkie band mate, the arrogant one, the laid back one, and the thoughtful one – but without being too obvious about it. Joann is the Patti Scialfa to Eddie’s Bruce Springsteen but Frank falls for her the first time they meet in ’62. There are certainly sparks between them but as anyone who’s been in a band knows, the fastest way to break one up is getting romantically involved with a fellow bandmate.

One of the best scenes in the film that illustrates the band’s dynamic is the flashback showing how their biggest hit, “On the Dark Side,” evolved. Eddie takes Frank’s slow ballad and spruces it up with a catchy up-tempo keyboard melody. Pretty soon the rest of the band joins and a hit is born. This scene shows what a great team Eddie and Frank are – the former supplies the music and the latter supplies the words. It also shows Eddie’s uncanny ear for what works in a song.

Michael Pare really sells the music well and delivers just the right amount of energy and charisma. It helps that the vocals he’s lip-synching to fit him well. You almost believe that he’s really singing. Pare also portrays Eddie as tantalizingly elusive and enigmatic. You are never quite sure what he’s thinking and he’s a man of few words but clearly has ambitions above and beyond entertaining an audience. With the album A Season in Hell, Eddie wanted to create something different and when the powers that be tried to deny him, he disappeared. Along with Streets of Fire (1984), Eddie and the Cruisers was supposed to make Pare a big movie star but both films tanked commercially and critically. Now, he’s relegated mostly to direct-to-home-video fare.

Tom Berenger conveys a slightly sad, wistful vibe as Frank clearly misses the times he had with the band. He has made peace with his lot in life. He’s no longer a musician and his ambitions died alongside Eddie. I always liked Berenger and he’s wonderfully understated in this film. He would go on to the role of a lifetime in Platoon (1986), which was the antithesis to his role in Eddie and the Cruisers and showcased his versatility as an actor. Prior to this film, he also had a memorable turn in The Big Chill (1983). For awhile it looked like he would be leading man material but he has settled rather nicely into character actor roles.

A young Ellen Barkin plays the persistent reporter who tries to unravel the mystery of Eddie’s death. She looks so young and beautiful in this film but isn’t given too much screen time. Looking back, she had a pretty fantastic run in the 1980s with this film, The Adventures of Buckaroo Banzai Across the 8th Dimension (1984), The Big Easy (1987), and ended the decade in style with Sea of Love (1989). Joe Pantoliano plays the Cruisers’ manager with the same kind of enthusiasm that he would display in other memorable roles in the 1980s, like Risky Business (1983), The Mean Season (1985), and Midnight Run (1988).

Eddie and the Cruisers was originally intended to open during the summer but a scheduling error resulted in a September release when its target audience – teenagers – were back in school. It was released on September 23, 1983 and grossed $1.4 million on its opening weekend. The film was pulled from theaters after three weeks and all of the ads were pulled after one week. It would go on to make a disappointing $4.7 million in North America.

Eddie and the Cruisers received largely mixed to negative reviews. Film critic Roger Ebert gave the film two out of four stars and found the ending “so frustrating, so dumb, so unsatisfactory, that it gives a bad reputation to the whole movie.” In her review for The New York Times, Janet Maslin wrote, "Some of the details ring uncannily true, like the slick oldies nightclub act that one of the Cruisers is still doing nearly 20 years after Eddie's supposed death. Other aspects of the movie are inexplicably wrong. Eddie's music sounds good, but it also sounds a lot like Bruce Springsteen’s, and it would not have been the rage in 1963.” However, she did praise Pare's performance: "Mr. Pare makes a fine debut; he captures the manner of a hot-blooded young rocker with great conviction, and his lip-synching is almost perfect.” Gary Arnold, in the Washington Post, wrote, "At any rate, it seemed to me that what Eddie and the Cruisers aspired to do was certainly worth doing. The problem is that it finally lacks the storytelling resources to tell enough of an intriguing story about a musical mystery man.”

In 1984, Eddie and the Cruisers found new life on HBO. After the soundtrack album suddenly climbed the charts, the studio re-released it in the fall of 1984. During its play dates on HBO, the album sold three million copies. Nine months after the film opened, “On the Dark Side,” the Cruisers big hit in the film, was the number one song in the country. Embassy Pictures re-released the film for one-week based on successful summer cable screenings and popular radio single but it failed to perform at the box office. The film and the album eventually did well enough to make way for a sequel – Eddie and the Cruisers II: Eddie Lives (1989) – that saw Eddie as a construction worker in Montreal (?!). Davidson was offered the sequel but was not crazy about the idea and wanted no part of it. With the exception of Pare, Laurance and Cafferty, nobody from the first film had anything to do with it and the less said about this awful film the better. After the commercial failure of the first film, Davidson has continued to work steadily, mostly in television, directing episodes of Law & Order, Picket Fences, Chicago Hope and Judging Amy but has been inactive since 2002.

It’s interesting that the initial rise and fall of Eddie and the Cruisers mirrors the arc of President Kennedy. The band peaks during his presidency and Eddie disappears and his band breaks up after Kennedy is assassinated and the country was thrown into turmoil and disillusionment. This parallel seems more than just a coincidence so I’m sure Davidson had it mind when he wrote the screenplay. What is so endearing about Eddie and the Cruisers is the idealism that permeates the film as embodied by Eddie’s desire to create songs that will allow him “to fold ourselves up in them forever,” as he tells Frank at one point. The film has an internal conscience and celebrates the notion that music can take you to another place and make you forget about your daily problems for a few minutes. This is tempered by a melancholic tone that permeates all of the scenes that take place in the present. Eddie’s death and the end of the Cruisers hangs like a heavy cloud over the surviving members and all of the old feelings and memories are dredged up thanks to Maggie’s inquiries.

Eddie and the Cruisers celebrates getting lost in the music and how it makes you feel. This is pretty ambitious stuff for a little a film about a reclusive singer for a bar band. And, for the most part, the film pulls it off. Along with Almost Famous (2000) and Hard Core Logo (1996), it is definitely one of my favorite films about a fictious band. Davidson is still proud of his film but is bitter about how it was handled. “That picture should have been a theatrical success. There was an audience for it. People still watch it and still tell me about it.” Eddie and the Cruisers has aged surprisingly well and over time all the good notes are intact.

I would be remiss without giving a shout-out to John Kenneth Muir's book, The Rock and Roll Film Encyclopedia for providing the bulk of the production information contained in this article.

Here's the trailer: