Crew: Bill Flannigan: Writer, Producer, Director Pam Carter: Producer Wendy Jo Carlton: Co-Producer Dan Molvar: Co-Producer Richard D. Evans: Executive Producer Jorge Barrera: Director of Photography Dan Molvar: Co-Editor Jorge Barrera: Co-Editor David Conley: Music Brian Parker: Sound Designer Tina Weber: Production Designer Christiane Bayor: Costume Designer Melanie : Makeup Supervisor Heather Park-Albertson: Script Supervisor Margaret VandenBerghe: Casting Director
Awards: , 2000,New York International Independent Film Festival March, 2000,Yahoo Online Film Festival March, 2000,FLO Film Festival (Ft. Lauderdale) April, 2000,East Lansing Film Festival April, 2000,Worldfest Houston (Silver Award for Original Dramatic Short) May, 2000,Seattle International Film Festival July, 2000,911 Media Arts (Seattle) August, 2000,Zeitgeist Film Festival (San Francisco) September, 2000,Brooklyn Film Festival September, 2000,AFFMA Film Festival (Arpa Foundation for Film, Music, and Art- LA) September, 2000,Mercey Hot Springs Film Festival October, 2000,FirstGlance LA Film Festival
Jimmy Ritz is the top criminal defense lawyer in town, but when he witnesses a hit ordered by a local labor boss, his world starts to unravel. Silas Kaye, a pal hired to spy on Jimmy's unfaithful wife, ultimately discovers the truth about the late Jimmy Ritz.
For more information, please visit: www.rainmakerfilms.com
AS REVIEWED:
The fact that it was entirely shot in black in white gives it a neat, documentary feel to it, yet it becomes a drama as the film develops. This film is a good sample of noir film making, gradually and effectively showing a man's tragic descent to the pits. The dialogues are memorable and the casting is superb. Boy, the lead really looks like a neat lawyer who is slowly disenchanted by his profession.
Recommend it to your lawyer friends. Perhaps they will finally see themselves in the film-and regret charging you exorbitant litigation fees! If given the chance, I will probably retitle this film "Conscience" for its effectiveness in poking its fingers on that part of a human being that seems to grow smaller and smaller as he ages. Or maybe "Looking Glass?"
We also find excellent editing here. The opening scene portends what was going to be the tragic side of things. The flashbacks are credible. The music adds to the tragedy of it all-yet does not intrude. Only a director with mature control could have done this one.
The only thing that intrudes so rudely and through no fault of the director is the booming sound of the RealPlayer software. Perhaps it will take some years to improve on that? But then again you really can't complain too much. After all, this stuff is free.
Go To Page: 1 2
