Swordfish tries so hard to be cool, and save for a few moments of smirking silliness, it is pretty goddamned cool. The early 2000’s still carried lingering, reminiscent elements of the 90’s, the super cyber hacker archetype included. The cyber hacker is played by two types of people: basement dwelling, Mountain Dew drinking chatter boxes and virile, sexy supermodels. The latter is employed here, personified by Hugh Jackman as Stanley, a sly devil who can hack into almost anything effortlessly, but has been caught and never allowed to touch a computer again. Enter Gabriel (John Travolta), a silver tongued arch villain out to steal all the money and priceless artifacts he can hope to ever own. Although Travolta isn’t as truly off the rails as in some of his villain roles, the amiable charm he puts forth here is but a ruse to cloud the monster beneath. He’s a very bad man, putting Stanley’s loved ones in jeopardy and forcing him to work computer wizardry for ill gotten riches. Gabriel has a girlfriend named Ginger (Halle Berry, never sexier) who walks a moral tightrope between the two alpha males, torn between roguish indifference and and her conscience. Stanley is also hounded by an FBI Agent (Don Cheadle), with whom he has a tumultuous past. The film resists goin completely by the motions, lulling you just to the border of entropy and then throwing something surprising from a direction you didn’t look in. My favourite scene of the film shows Travolta giving a monologue on bank robbery etiquette, complete with a reference to Sydney Lumet’s Dog Day Afternoon, confirming the fact that this flick has a strong script to go with its pyrotechnics. He flexes his sonic directorial muscles in an especially extraordinary action sequence involving a bus and a helicopter that will seriously make your finger hover over the replay button. Vinnie Jones is an ambassador of cool, in a lively turn as Gabriel’s head thug. Sam Shepherd has fun as a corrupt Senator. There’s also fine work from Zachary Grenier, Tim Dekay, William Mapother, Rudolph Martin and Drea De Matteo. Director Dominic Sena comes from music video land, having also helmed the priceless Nic Cage Bruckheimer-fest Gone in 60 Seconds, as well as the fallout brilliant psycho road thriller Kalifornia. Here he doses the flash and sizzle of 60 seconds with the hard hitting violence of Kalifornia, presented in a story guaranteed to raise a pulse. It’s also got pretty much the coolest poster of 2001. I dare you to find a cooler one, go ahead. Oh, and Travolta’s manscaping here deserves its own spinoff film.
Podcasting Them Softly is extremely honored to present a chat with the fantastic cinematographer Paul Cameron. Paul has been responsible for shooting some of our absolute favorite modern action films, from his collaborations with the late Tony Scott including MAN ON FIRE, DEJA VU, and the BMW films entry BEAT THE DEVIL, to his groundbreaking work on Michael Mann’s COLLATERAL. Other efforts include the slick and gritty actioners GONE IN SIXTY SECONDS from director Dominic Sena and producer Jerry Bruckheimer, the crazy-fun cyber-terrorism thriller SWORDFISH with John Travolta and Hugh Jackman, the lens-flare gorgeous Total Recall remake, and the underrated thriller Dead Man Down. Paul has some massive projects coming up next year and beyond, with the HBO series WESTWORLD from Jonathan Nolan hitting TV screens in 2016, and he’s just wrapped principal photography on the latest PIRATES OF THE CARIBBEAN installment which is set for release in summer 2017. As most listeners of this podcast will know, we are both huge fans of Tony Scott and his artistically expressive aesthetic, so it was a real highlight to get a chance to speak with one of his key camera collaborators. We hope you enjoy!