by

NADEEM A. KHAN

The Players:

Martin Vail: Richard Gere

Aaron Stampler: Edward Norton

Janet Venable: Laura Linney

John Shaughnessy: John Mahoney

Judge Miriam Shoat: Alfre Woodard

Directed by: Gregory Holbitt

Screenplay by: Steve Shagan and Ann Biderman, based on the novel by William Diehl.

Running Time: 31 minutes. Classified R (for brief violence, strong language and a sex scene).

While on the surface "Primal Fear" appears to prey on the mass's weakness for judicial sensationalism, there is more to this thriller that grapples the attention. At the core of it all is Richard Gere (Martin Vail). I say Richard and not Martin because it is difficult to dispense his screen presence and isolate his character without attaching ourselves to the man, the actor that is Richard. "Primal Fear" is one of those movies that constantly forces us to think about issues not immediately germane. There are far too many distractions and Gere is one of them. Maybe it is the suits--every time I see Richard dressed so impeccably, I think of Julia Roberts--and that Lotus. Then Miss. Crawford trickles in and that kicks open a whole different avenue of thought. But Richard succeeds in involving the viewer in a struggle that starts to assume realistic proportions. A decade ago the plot would have appeared a bit contrived. Thanks to the print and broadcast media's affinity towards high browed legal wrangles, Aaron and Richard's predicament seems truer to life. Indeed, as the movie progresses, we spend some time correlating the plot subconciously with recent big-name trials. Further elaboration is not necessary.

Aaron Stampler (Edward Norton) is an altar boy accused of a nefarious murder. He is shown fleeing from the police, drenched in the archbishop's blood. Martin Vail, an attorney with a nose for scandal and a desire to be at the center of that scandal, spots the lad on television and wastes little time getting to his side. He isn't interested in Aaron's guilt. Nor does he pause to consider that his client may be innocent. He is fascinated with the case and defending the innocent-appearing Aaron presents an intriguing challenge. Martin is a truculent, cock-sure bloke whose connections range from Chicago's law makers to the dregs of society. He realizes his profession sometimes allowes little to justify his actions. So he prefers to impart the best defense he is capable of; guilt or innocence play no role in his personal court. He wants the limelight and he uses his skills to get to center stage. Now, he would use Aaron Stampler.

If Laura Linney (Janet Venable) hadn't been a one time love interest of Vail, her character, the assistant D. A and the prosecuting attorney would have been one-dimensional. To her credit she makes most of a role that pitches her as a puppet. Which she is: goaded by the D.A, on the one hand, into not losing the case, and intimidated by the overpowering Vail into doing the opposite, Linney flits across quite convincingly. Despite the tension, Linney and Gere maintain optimum distance and that allows the center plot to flow through nicely. There isn't, mercifully, a soupy reunion of the sundered hearts, something commercial Hollywood has programmed us into believing will happen inevitably.

Director Gregory Holbit paints a busy background, as Martin Vail discovers there was more to the Archbishop than met the eye. Some of the man's extra-curricular activities--shocking as they turn out to be--are not beyond comprehension. There is also a shadow of doubt over the D. A, John Shaughnessy (John Mahoney of Frasier) about a land deal--also involving the Archbishop--that went sour. Slowly, and with some relief we realize Aaron Stampler, the young Kentuckian with a stammer and a history of ill- luck, may be innocent after all.

Edward Norton's performance ranks among the season's choicest and, at times, he overshadows Gere. Norton's is an extremely complex character about whom we learn more through the court appointed psychologist Molly Arrington's (Frances McDormand) evaluations. Aarons' insistence that there was someone else present in the room during the murder meets with a satisfying conclusion.

The movie echos Vail's somewhat insane philosophy that innocence or guilt is never an issue; that each one of us is entitled to a criminal act, sucking us into a universe where guilt and innocence are indistinguishable and interchangeable facades; where either can be a powerful tool. Holbit ends up focusing on the fiber of his leads--Vail and Norton and he involves them in a struggle whose basis is mired in a daring negligence of consequence.

Ultimately, Holbit taints a good effort by indulging in needless sensationalism--some of the scenes are a bit over dramatic. Had the overall mood been darker, the package would have had greater impact. Box-office reaction to a grimmer narration, however, is difficult to predict and the think tank opted to play it safe.

Reviewed: 7/1/1996

Copyright©1996, Mesmer Productions. All rights reserved.