|Index||9 reviews in total|
Now, I'm a big fan of car chases and big action, and I do love style for style's sake. But it's getting so it's hard to find anything but these things, even in a 'small' dramatic movie. This movie is quite genuine, it's got that 70's slower pace - a very natural build-up of the drama. James Caan's direction is clean and clever, and he plays that working class good man so well. The story is well handled, especially considering that it's based on true events, and without the overbearing score or dramatic character or situational embellishments that this film would have if it was made today. So refreshing.
I thought the naturalism of the settings worked well for Caan. It's got that gritty 70's look. It's also interesting to see a film shot in Buffalo, NY during that period. The extras are good and some of the hairstyles and fashions are hysterical. I thought Caan did a good job considering this was the first and last movie he shot. Jill Eikenberry's acting is very natural. The climax is not exploitative and thus is believable. Not played very much on cable although the topic is timely, I forget which station I caught it on fairly recently. The character is played well by Caan and I identified with the working class element. I was also wondering why Hollywood never gave James Caan another directing job, was it because this fared poorly at the box office?
One of the great unsung directing debut's from a versatile character actor with stat status. I remember the mid to late 70's cinema scene with fondness and the prospect of James Caan directing as well as starring in a character-driven piece was like manna from heaven to me. Living in the UK I never got to see this release in the cinema (despite excellent coverage in UK's Films and Filming magazine), but I caught up on it during the 80's video revolution (in an un-hired ex-rental video). Unfortunately the video was panned and scanned to 4:3 thus diminishing the composition and I had to wait until the late 90's to catch this excellent drama on TCM where it was regularly screened in it's correct aspect ratio. Since purchasing a DVD recorder last year this title has not popped up on UKTV so I wait with baited breath for the return of "Hide In Plain Sight" to the TV screens.....hey! maybe someone will lobby for a DVD release because you've got to admit it's far superior the 95% of the dross that gets released every week of the year!
This film DID get a theatrical release, but it quickly disappeared.
It's unfortunate, because it's very thoughtful film. As a director,
Caan made some interesting choices.
As a side note, I saw Caan discussing it in an interview a long time ago. He said the studio had no faith in the film, so they dumped it without much advertisement. And then they were shocked when it received great reviews. But by then, it was already dead. He also mentioned that the pan & scan version that was on TV changed a lot of wide-screen two shots into separate shots! I'm not sure if the same thing happened with the VHS, but I'll bet it did. Hopefully, a proper version will come out on DVD one of these days.
*** This review may contain spoilers ***
Based on a true story, working class father Caan is stunned to find that his two children from a previous marriage have been swallowed up by the witness protection program, leaving him with no avenue to see them or contact them. Caan, a veteran and an employee at a Buffalo, NY rubber factory, enjoys spending time with his young son and daughter until their mother (Rae) becomes involved with a hood who has ties to the mob. When the hood (Viharo) informs on a dozen of his former mob cronies, he is assigned a new name, new job and new geographic location, taking Rae and the children with him. Caan, who has just begun a new relationship with rather prim and sensitive schoolteacher Eikenberry, exhausts every method he can think of to locate and become reunited with his children, encountering governmental opposition and red tape at every turn. Caan, who also directed this film, gives a very low-key, but effective performance. He is never tempted to overplay his heartache, anger or frustration and refrains from overindulgence, though occasionally he threatens to (or does!) lose his cool. He presents an amiable, though lower-class, character but doesn't play up things like a thick accent or excessively brutish qualities. Eikenberry is a serene, endearing presence who understandably wears down during Caan's endless quest, but shows quiet strength and support when it's needed. Many familiar TV and movie faces people the supporting cast. Grifasi, as Cann's co-worker and friend, gets a rare chance to play a regular guy in contrast top the many quirky or comedic roles he's enacted. Aiello is good as a lawyer who agrees to take on Caan's case. Clennon, who would later make a splash on "Thirtysomething" appears as a snotty attorney who draws Caan's ire. The film benefits greatly from authentic location work and an overriding sense of realism. The acting is decent throughout. Where it falters some is in its period detail. The story is set in 1967 but, aside from some bouffant hair and period cars, there is precious little to suggest that this isn't the mid to late 70's. The primary difference is in the make-up. Women (especially like Rae's somewhat tawdry character) wore far heavier eye make-up, including false eyelashes. Eikenberry, in particular, rarely looks like someone from 1967. Another quibble is the apparent time-line. The true story played out over 8 years, which is a far more agonizing ordeal to live through than the approximately one year span shown here. Still, it's a thoughtful, realistic drama concerning a subject that hasn't gotten a lot of coverage in the cinema. To date, Caan has not again stepped behind the camera to direct.
*** This review may contain spoilers ***
'Hide in Plain Sight' is a solid, functional, lean, and smoothly done
film. It is 'no frills' in style, but that does not mean that it has a
"tv movie of the week" vibe.
The film does it's best to bring out the emotional pitch of the complex situation. In this, it largely succeeds. HIPS is not a glossy, gorgeous film, with memorable cinematography--it is strongly blue-collar and gritty in its general feel. But it is focused and stays on-target for what it is trying to do. That's more than you can say for a lot of movies.
I hadn't realized until now, that this flick was directed by Caan. This work does credit to his already great resume. He keeps a firm hand on the production and doesn't make any sophomoric mistakes. It is not a 'great' film but it is a good film --realistic--and doesn't disappoint.
By the way, it's hard to overlook the relevancy of a plot like this, with current events the way they are, in the U.S. today. This film is particularly poignant and resonant for those of us concerned about American civil liberties.
There is a great scene near the end where Caan makes his final stand against the government agencies he has fought throughout the film.
*** This review may contain spoilers ***
Rarely do you see a movie with a hero who is an ordinary everyday
working stiff. A man who served his hitch in the armed forces and then
returned to civilian life to settle down as an eight hour a day blue
collar factory worker. Men of this caliber don't stand out in crowds.
They aren't very interesting either to movie audiences that demand
larger-than-life heroes caught in life and death predicaments and
perform incredible feats of derring-do. In "Hide In Plain Sight," James
Caan of "The Godfather" plays a real-life person in a film based on a
true incident that occurred in Buffalo, New York, in the late 1960s and
became the subject of a book by Lesley Waller.
As Tom Hacklin, Caan is your average, middle-class, blue-collar factory worker. No, he isn't an Archie Bunker type. If Hacklin has any opinions, he keeps them to himself, and Caan doesn't portray him as a dummy either. Although Hacklin is divorced (a point that Spencer Eastman's script avoids), he is shown as an individual that treats his children, a boy and a girl, with unbridled love and affection. The action begins one day in 1967 when Hacklin learns that his ex-wife Ruthie (TV actress Barbra Rae) and his pre-school kids have vanished without a trace. Hacklin's wife had been involved with a small-fry Mafioso Jack Scolese (Robert Viharo of "Villa Rides"). Scolese staged a bank robbery and pistol whipped a bank cashier. On orders from the mob, Scolese not only marries Ruthie, but he also turns himself into the authorities.
Meanwhile, a U.S. government strike force in Buffalo out to clean up crime convinces Scolese that his mob set him up. Federal authorities persuade him to inform on his former gang bosses; it seems that the government has a Witness Relocation Program. The program calls for a complete change of identity for the informer and his family as well as a new town to settle in with a worthwhile job. Scolese decides to inform. Hacklin sets out to find his kids. He is frustrated at every turn by uncooperative cops and lilied-livered politicos. The police have to stop him from finding Scolese as much as the mob wants him to find a rat that needs killing. Either way Hacklin could care less, he just wants his kids back.
"Hide In Plain Sight" is a brooding, low-key movie that shuns the extroverted emotionalism of "Kramer Vs. Kramer," another film about a father that wants his child back. Spencer Eastman's screenplay is a fine, literate effort that details the obstacles that Hacklin must overcome to find his children. Occasionally, the script has lapses; Hacklin is shown in a highly favorable light, but why was he divorced? You get the feeling that his wife was to blame, but how did she get custody of the kids? Most of all, however, the script is credible, especially in dealing with Hacklin's frustrations. After the court hearing, which Hacklin loses to the government, he smashes the government attorney's slick, sporty Corvette. The revenge her is so pathetic that it is real and believable.
James Caan makes his directional debut with "Hide In Plain Sight." Although he isn't as innovative as Clint Eastwood, he is at best competent and unpretentious. Caan doesn't let anything or anybody, least of all himself, get in the way of the story that he has to tell. The performances by the cast are nicely etched characterizations of real people. There are no bloodbaths or careening auto chases here. "Hide In Plain Sight" is a responsible, evenly paced film. Director James Caan has taken great pains to recreate the setting and the story. He has also done an admirable job in skillfully underplaying the role of Thomas Hacklin. Presumably, Caan both admired and sympathized with Hacklin and the guy's plight for he has made one of the more notable films of the 1980 cinema season. If you aren't accustomed to movie-going because you deplore the excesses of sex and violence on the big-screen, "Hide In Plain Sight" may be just what you're searching for in good entertainment.
*** This review may contain spoilers ***
Excellent film with James Caan starring as a typical divorced man with
2 children. His wife gets involved with a gangster and when her new
husband is wanted for a bank robbery, the mob strongly suggests that he
marry her so that she can't testify against him. When he is caught, he
turns the tables on the mob and is placed in the Witness Protection
Program. Problem is that he leaves with his new wife and children, and
the Caan character has every door slammed in his face when he tries to
find out from the government what has happened to his children.
This film shows you the inhumanity of the government in consideration of Caan's request. They will either ignore him or thwart any attempt of his to make contact with his children.
Caan plays the desperate father quite well.
Never saw this film directed by James Caan, who also appears in the
title role. This movie must have gone directly to video because we
don't recollect if it ever was released commercially. The picture has a
"movie of the week" feeling to it, which could well be the reason for
not having received a wider release.
The film makes an interesting point. Thomas Hacklin, a factory worker, has divorced his wife, but they have remained in friendly terms. We watch as Tom comes, at the start of the movie, to baby sit his son and daughter. Clearly, Tom adores these children.
His divorced wife has remarried the small time hoodlum Jack Solese. When this man runs into problems with the law, he is offered a release and witness protection in exchange for his cooperation in getting the principal mobsters in jail. When he complies and points the finger to the responsible guys, Jack and his family are relocated to Michigan. Tom, on the other hand, is not notified about the where abouts. Thus begins his quest for his own children.
James Caan, makes a good impression as the working class father. Jill Eikenberry plays Alisa, the woman who has settled in the area and loves Tom. The supporting cast is good. Robert Viharo, Joe Grifasi, Barbra Rae, Kenneth McMillan, Josef Sommer and Danny Aiello work well under Mr. Caan's direction.
This is a curiosity because it's the only film directed by Mr. Caan.
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