The Untouchables

REVIEW:

“The Untouchables,” directed by Brian De Palma, is a visually striking film that brings the world of 1930s Chicago to life with great panache. From the very opening credits, Ennio Morricone’s score sets the tone with a classic “cops and robbers” vibe, immediately drawing the audience into the high-stakes world of law enforcement’s battle against organised crime. The music perfectly complements the film’s atmosphere, adding a layer of intensity and drama that carries through the entire story. However, while the score is undeniably engaging, it also hints at the film’s broader tendency to romanticise the conflict rather than delve deeply into the complexities of the era it portrays.

One of the standout aspects of “The Untouchables” is its impeccable sense of style, thanks in large part to the costumes designed by Giorgio Armani. The wardrobe is classy and authentic, capturing the elegance of the time while also emphasising the contrast between the lawmen and the gangsters they pursue. This visual sophistication is further enhanced by Stephen H. Burum’s cinematography, which is nothing short of excellent. The film is beautifully shot, with each frame carefully composed to highlight the tension and drama inherent in the story. The combination of Armani’s costumes and Burum’s cinematography ensures that “The Untouchables” is a great-looking movie, even if its substance doesn’t always match its style.

Despite the film’s many strengths, it falters in its portrayal of some of its characters, particularly in how it handles Robert De Niro’s portrayal of Al Capone. De Niro, as expected, steals every scene he’s in with his commanding presence and intensity. However, the screenplay does not give him much to do, leaving him underutilised and ultimately a missed opportunity. The film’s dialogue also suffers from being overly cheesy at times, which detracts from the gravitas of the story. Kevin Costner, in one of his early roles, struggles to deliver some of the lines with the necessary conviction, resulting in moments of hammy acting that can feel out of place. It’s clear that the script doesn’t always play to the strengths of its cast, which is a shame given the talent involved.

It’s important to note that “The Untouchables” is not a gangster movie in the traditional sense. Rather, it is a romanticised cop drama told from the perspective of Treasury agents, specifically focusing on Eliot Ness’s pursuit of Al Capone. This narrative choice may leave some viewers disappointed if they go in expecting a gritty mafia film akin to “Scarface” or “The Godfather.” However, if one approaches the film with the understanding that it is more about the lawmen than the criminals, there is still much to appreciate in the story and the action sequences that unfold.

The film truly hits its stride in the second act, particularly with the death of a key character that significantly raises the stakes and finally gets the audience invested in the mission to take down Capone. Before this moment, the narrative feels somewhat sluggish and unfocused, lacking the emotional weight needed to fully engage the viewer. Additionally, the film misses an opportunity to explore the complexities of Prohibition, instead opting to focus primarily on Ness’s personal vendetta against Capone. This narrow focus limits the film’s potential to offer a more nuanced portrayal of the era’s social and political landscape.

In conclusion, while “The Untouchables” is definitely worth a watch and has earned its status as a classic, there are other films in the genre that may offer a more satisfying experience. The film’s stylish presentation and strong performances from its cast are somewhat undermined by a weak screenplay and occasionally awkward direction. Nevertheless, for those who appreciate a good detective drama with a touch of Hollywood flair, “The Untouchables” delivers an entertaining, if imperfect, cinematic experience.