The Big Easy is directed by Jim McBride and written by Daniel Petrie Jr. It stars Dennis Quaid, Ellen Barkin, John Goodman and Ned Beatty. Music is scored by Brad Fiedel and cinematography by Affonso Beato.
Remy McSwain (Quaid) is a slightly corrupt New Orleans cop, who whilst investigating the murder of a mob man, finds himself under scrutiny by assistant district attorney Anne Osborne (Barkin). The waters start to become muddied when the pair begin to have a passionate affair, just as the can opens and worms spill out everywhere.
It's an odd film at times, a bit too jovial to be considered proper neo-noir, and Quaid's Southern accent takes some getting used too. It's also nearly derailed in quality as conventionality dominates the last quarter of film.Yet judged on its own thriller terms it entertains well enough whilst also having some neat technical touches to help it along. Petrie's script contains spiky dialogue and a number of bravura sequences light up the otherwise standard crooked cop story.
McBride dose good work on this, he opens his film up with a cracker of a camera tracker, and he makes good use of the New Orleans locations. He also has a good sense of prop choices to help the mood, none more so than with a scene involving Mardi Gras costumes, whilst he gets strength for the film by garnering tense and sexy performances out of Quaid and Barkin. Support actors also leave good marks, with Goodman as a cop colleague dominating the screen and Charles Ludlam almost stealing the film as McSwain's dry and near sleazy lawyer. Soundtrack, too, is well thought out, with the Cajun flavours spicing up the sweaty Orleans stew. 7/10
Remy McSwain (Quaid) is a slightly corrupt New Orleans cop, who whilst investigating the murder of a mob man, finds himself under scrutiny by assistant district attorney Anne Osborne (Barkin). The waters start to become muddied when the pair begin to have a passionate affair, just as the can opens and worms spill out everywhere.
It's an odd film at times, a bit too jovial to be considered proper neo-noir, and Quaid's Southern accent takes some getting used too. It's also nearly derailed in quality as conventionality dominates the last quarter of film.Yet judged on its own thriller terms it entertains well enough whilst also having some neat technical touches to help it along. Petrie's script contains spiky dialogue and a number of bravura sequences light up the otherwise standard crooked cop story.
McBride dose good work on this, he opens his film up with a cracker of a camera tracker, and he makes good use of the New Orleans locations. He also has a good sense of prop choices to help the mood, none more so than with a scene involving Mardi Gras costumes, whilst he gets strength for the film by garnering tense and sexy performances out of Quaid and Barkin. Support actors also leave good marks, with Goodman as a cop colleague dominating the screen and Charles Ludlam almost stealing the film as McSwain's dry and near sleazy lawyer. Soundtrack, too, is well thought out, with the Cajun flavours spicing up the sweaty Orleans stew. 7/10