Robert Altman's "The Player" is one of the biggest films ever made for films, and there is a killer scene that is almost summarized in Hollywood in the 1990s: The Script condemning the capital punishment goes from a serious indie project, with no big names involved in the largest car in the main array of Julia. Moment of "Listen". Released in 1992, we would think that the mainstream studio would discuss such finishes from the corner after that distort, but they continued to use the death penalty as a dramatic hook until the end of the decade, from tear-shudgers as a "dead man walking" and "green" and "green" mile, as " Oscar's independent candidate in Samuel L. Acksexone, "time to kill". Even Clint Eastwood joined action with "real crime", one of his biggest apostles as an actor and director.

Eastwood has been directed since "Play Fogs for Me" In 1971, and his films generally tend to make a decent profit, although he had several chicks on the road. "White Hunter Black Heart", "Rookie", "Blood Work" and "Crying Macho" all disappointed with the box office, but no one lost as much money as his adaptation in 1999 at Andrew Clavan Airport. He just made $ 16 million against a $ 55m budget, which must come as a shock in the safely lucrative genre, especially coming from Oscar -winning director and ordered cast; In addition to Eastwood itself, the film's ensemble includes Isaiah Washington, Lisagay Hamilton, Jameseshei Woods, Dennis Larry, Bernard Hill, Michael McCain and several other support actors. It may be reduced to a generic title or a routine trailer that hits all the famous strokes and shows the whole film quite quite. Or maybe it was because the audience began to get tired of the hacking old mortal hyphen, and looked a little old hat that came out a few weeks before the new movie carried by the "Matrix". Whatever the reason for his commercial failure at the time, "real crime" is underestimated a mysterious gem that still deserves another chance. Let's look closely.

Frank Behum (Isaiah Washington) is a San Quentin prisoner just hours away from execution with a deadly injection. Six years earlier, he was convicted of killing a pregnant clerk for the convenience, who owed him with money. Seems to be an open case; One witness saw him running away from the scene covered with blood, while another claimed to see him standing over his body with a gun in his hand.

Michelle Ziegler (Mary McCormack), a young Rapporteur for Oakland Tribune, is designated to write a story of "human interest" and conduct a final interview with the convicted man. However, when Michelle dies in a ruin of a car, the newspaper of the newspaper Bob Finley (Dennis Larry) brazenly teaches the task of Steve Everett (Clint Eastwood), an attractive old school rapporteur who is sleeping with his wife.

Everett is a little chaos. He is an alcoholic that is recovering and seriously female, his marriage is on the rocks, and he is a terrible father of his cute little daughter. His past is even more disturbing; He was once well on his way to the Pulitzer prize before he was a black -and -the -top sleeping with the previous daughter of the minor of the boss, and his credibility was low after trying to clear up a guilty sex offender the previous year. But his cynical editor (Jameseims Woods) still has some faith in Everett's nose for a story and gives him 12 hours to examine him before Bechum fulfilling his fate.

In a typical way for this kind of film, Everett immediately snaps the shortcomings in the case against Beehum that no one could notice before. With the clock jump, "real crime" becomes a race against time, as Everett again interviews witnesses and tries to reveal evidence that will save the man by the way, as they struggle with static from his colleagues and problems at home. The outcome will surprise exactly no one in the final that seems directly inspired by the fraudulent nail-biter in the "player", but Eastwood's access to the material makes the film more interesting than many other standard potboilers from the 90s.

Clint Eastwood is an intelligent director whose measured approach to filming is coincided with his style of laconic acting, which, at first glance, makes him strangely suited for the routine of the 90s race in the race-hour as "real crime". But Eastwood has always been interested in his own myths, and the film appeared as he tried the variations of his persona in a series of best -selling adaptations, Among them "Madison County Bridges" and "absolute power". As such, the generic nature of the mystery at hand serves as a background for another of the Eastwood studies in solid masculinity.

"Real Crime" has an unusual structure, with two stories that work in parallel. One is a quiet and methodical view of Frank Behum's last day, focusing on the procedures before the execution, visiting a heart attack by prisoner and young daughter's wife and interactions with unusually Kindubez Prison Manager of Bernard Hill and the Lightweight. The other side of the film plunge into the chaotic life of Steve Everett, and it is a fascinating chaos as Eastwood allows the plot to wander the tangents.

Everett feels like a character written for an Eastwood younger man, who was in the late sixties when he played the role. We are required to believe that he is irresistible to almost every woman in the bay, which means we get the factor ickname together for other films where Eastwood shows Lotario (see also: "Sanction of Eiger"). The film also stopped for some mature dressing room conversations between Everett and his editors, which is quite crunching thanks to Eastwood's usual tin ear for comic dialogue. Among all the paths, flirting and a fun scene where Everett gives his daughter a tour of zoo gigs, it is a miracle that he is trying to consider the case at all.

Everett may have made a lusting character with a younger actor who played as a rubbish, not Orier Raall for Eastwood, but the Tevre accepts the mistakes of the character. This eventually works in favor of the film, as it attracts a comparison between Behom and Everett, the dignified family man himself, relying on a neglecting husband and father to save life. Their only meeting is a dramatic mark, and it all pays dividends when "real crime" suddenly shifts to top equipment for foretelling, but still occupied.