| Date | |
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| Author | DCM |
| Categories | cinema |
Set in the outer reaches of Brooklyn, The Drop opens with a thick New York accent telling us exactly what a 'drop bar' is - a watering hole that doubles as somewhere that money changes hands between the city's shadier characters away from the watchful glare of the police. This bar is run by Marv (James Gandolfini in his final big screen appearance) and tended by his cousin Bob (an utterly convincing Tom Hardy), but ultimately owned by the Chechen mob.
One night, the bar is robbed by two masked gangsters. Marv and Bob are instructed by their ruthless bosses to get the money back, and made aware exactly what will happen to them if they don't as they're shown a badly bludgeoned victim in the back of a van. This is the first of the film's two interlinked narratives; the second begins when Bob discovers a wounded pit bull puppy in a trash can outside local girl Nadia's (Noomi Rapace) house. Together, they help nurse the dog back to health, but almost inevitably, just as their relationship seems to be about to blossom, an old acquaintance of hers (Matthias Schoenarts) returns to stalk and blackmail Bob into returning it. It puts him in a position where he has to make difficult decisions, the repercussions of which contribute to the film's electric climax.
While the film will receive attention for being the swan song to James Gandolfini's hugely decorated career, Hardy is the stand-out casting choice. His New York accent is flawless, and he is by far the most interesting character. A dark horse from the first minute we see him onscreen, he's softly spoken but it’s evident that there's more than meets the eye. He goes to mass every morning, but never takes communion. He's stalked by a local detective after the bar robbery, who regards him with utmost suspicion about the missing money. In contrast with his almost clumsy demeanour, it makes him an intriguing presence throughout; quiet and pensive, it's almost as if he's got a massive burden on his shoulders.
This isn't to say that Hardy overshadows the other performances. Gandolfini's performance is solid - he shows shades of Tony Soprano, but the backstory of how Marv came to be under the thumb of Chechan gangster Chovka is what Gandolfini captures impressively - 'I had something once. I was respected. I WAS FEARED!' Rapace and Hardy have onscreen chemistry, the catalyst of which is adorable pitbull Rocco, though their relationship is somewhat of a sticking point; while their friendship is clear, it isn't explored in sufficient depth to give the viewer enough insight into their feelings for each other, and if there is the possibility of romance. Cue the entrance of Eric Deeds (Matthias Schoenarts), a menacing presence who looms large over both in every sense of the word, and steals each scene he's in. Under the tutelage of the same director he worked with on Bullhead, Schoenarts has now cemented himself on the Hollywood map with this performance to accompany his previous work in Rust and Bone.
In what is already a cluttered genre, The Drop is a stand-out crime thriller for its excellent screenplay and captivating lead performances. Adapted from author Dennis Lehane's short story Animal Rescue, the film's separate narratives gradually merge together to resolve each character's fate, but is not slow and doesn't drag. Culminating in one final drop on the eve of the Super Bowl, the film's final scene and conclusion is immensely satisfying, building tension in a way that keeps the viewer on the edge of their seat right up until actions lead to significant consequences. Whilst it was very different to his turn last year in Enough Said, The Drop is a fitting tribute to James Gandolfini as one of the most talented actors of our generation.