The title Twilight obviously brings up bad memories of a franchise we’d all like to forget, but before that abomination ever entered the fold, the moniker belonged to a laconic, brightly lit yet darkly intoned LA film noir starring Paul Newman as an aging Hollywood private investigator. He’s a guy who was was never famous himself but seemingly behind the scenes of stardom and scandal and making a career out of it until his golden years find him living on the lavish estate of a fading starlet (Susan Sarandon) and her husband (Gene Hackman), also an actor of former stature. He’s always been in love with her but is also Hackman’s good buddy and it makes for a love triangle that is never too tense or melodramatic, but just as uncomfortable as it needs to be. He sort of serves as their homefront security officer and sorta just spies on Sarandon languishing by the pool and you can tell that the three of them are just mournful ghosts of what they probably were decades ago, haunting their surroundings like echoes rather than living in them.
Things get heavy for them once again when Newman takes on a shady job that involves delivering blackmail money, a situation that quickly snowballs into deceit, old wounds torn open and, of course, murder most foul. Something nasty is going on that dates years back into the collective past of these three individuals and has come back to bite them all squarely on the ass, and although it might not be the most innovative mystery narrative and certainly aspects are predictable, it’s just so much fun watching these master actors play it out in sunny Hollywood enclaves. Speaking of old pros, James Garner has a nice supporting role as an ex cop pal of Newman’s who helps him out with intel and backup. Watch for early career work from Liev Schreiber, who now stars on Showtime’s Ray Donovan, another LA noir story that I’m almost positive drew inspiration from this film. A very young and very naked Reese Witherspoon also shows up briefly, as well as Stockard Channing, Margo Martindale, Giancarlo Esposito, Jason Clarke, John Spencer, Clint Howard and M. Emmett Walsh. Newman is terrific here in one of his older dude roles, his blue eyes lend just a hint of optimism to the downbeat noir archetype. Hackman and Sarandon say a lot with little dialogue and plenty of body language, embodying damaged souls with grace and grizzle.
I recently heard a character in Amazon’s Goliath (yet another LA noir- can you tell I’ve cultivated a fixation on the sub genre?) say that murders in LA and Hollywood are especially tricky to solve because anybody could know anybody or be connected to anything. That gives ample freedom to intertwine characters and set up strange encounters or resolutions to plot, which is always fun and evident here too. It’s a slow, sunny burn of a crime flick that isn’t designed to be particularly flashy or lurid, but unfolds at its own pace alongside Newman & Co. Good stuff.