Cast: Paul Newman, Linda Fiorentino, Dermot Mulroney
Director: Marek Kanievska
Producers: Ridley Scott, Charles Weinstock, Chris Zarpas
Screenplay: E. Max Frye and Topper Lilien & Carroll Cartwright
Cinematography: Thomas Burstyn
Music: Mark Isham
U.S. Distributor: USA Films
The primary reason to see Where the Money Is, a comedy/caper from director Marek Kanievska, can be summed up in two words: star power. Star power, that is, as in Paul Newman's. Over the past decade, Newman has been content to appear in the occasional film, but his schedule is far leaner than it was during the '60s and '70s, when he would turn out two or three movies a year. So it should come as no surprise that Where the Money Is represents the penultimate motion picture of a memorable career. According to the actor, he will do one more film - a "swan song" with wife Joanne Woodward - then retire. His presence will be missed.
At age 75, Newman still has more than his share of charm, although it's a more mature charisma than the kind he exuded in films like Cool Hand Luke, Butch Cassidy and the Sundance Kid, and The Sting. Unlike fellow thespian and occasional collaborator Robert Redford (who is 12 years younger), Newman has aged with grace. He plays characters his age and doesn't try to pretend he's 20 years younger than he actually is. And he still shines, even though the glow is more mellow than it once was. Newman is an easygoing, familiar presence, and his inclusion in any movie, whether as a star (Nobody's Fool) or in a supporting role (Message in a Bottle), is a welcome occurrence.
Where the Money Is does not have a great storyline. In fact, if not for Newman, the film would likely be both forgettable and forgotten. The dialogue includes a few nice lines, but nothing special, and the story has more than a few holes that the three credited screenwriters (E. Max Frye, Topper Lilien, and Carroll Cartwright) don't really attempt to plug. The premise is simple: convicted bank robber Henry Manning (Newman) arrives at a nursing home after having suffered an apparent stroke. With the exception of occasional hand tremors, he never moves or speaks. But his nurse, Carol Ann McKay (Linda Fiorentino), thinks he's faking, and, with the aid of her husband, Wayne (Dermot Mulroney), she sets out to prove it. But Carol is interested in more than getting the upper hand on Harry. She wants to spice up a moribund marriage, and thinks that robbing a bank or an armored car might be the perfect antidote to boredom. And who better to be her partner than one of the most successful robbers in U.S. history?
Where the Money Is is a genial film with a fair amount of low-key humor and a caper that is characterized by its simplicity. Moments of tension and suspense are few (in fact, there are only two or three). There are no big surprises or twists - the movie has the kind of direct trajectory that Hitchcock would have found disappointing. The interplay between Newman and Fiorentino is the undisputed high point. These two form a playful relationship that, while not overtly sexual, is characterized by an erotic undertone. Fiorentino, who can be marvelous in the right role (The Last Seduction, for example), holds up her end of the bargain with aplomb. Dermot Mulroney (last seen as the bridegroom and title character in My Best Friend's Wedding) has the thankless task of portraying the party pooper - a part that, for better or for worse, he plays with consummate skill. Where the Money Is shines when Newman is on screen (without, or preferably with, Fiorentino), but sputters during those few scenes when he's not around.
Where the Money Is may not be deep, but it is fun. The objective is met. The filmmakers have given Newman a worthy vehicle in which to display his wares. He is not upstaged by the other actors or by a busy screenplay. Watching Where the Money Is is like spending 90 minutes in the company of an old friend.
© 2000 James Berardinelli