A blog formerly known as Bookishness / By Charles Matthews

"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."
--Gabriel García Márquez, One Hundred Years of Solitude

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Wednesday, August 13, 2025

Deep Cover (Bill Duke, 1992)

Jeff Goldblum and Laurence Fishburne in Deep Cover

Cast: Laurence Fishburne, Jeff Goldblum, Charles Martin Smith, Victoria Dillard, Gregory Sierra, Sydney Lassick, Roger Guenveur Smith, Clarence Williams III. Screenplay: Michael Tolkin, Henry Bean. Cinematography: Bojan Bazelli. Production design: Pamela B. Warner. Film editing: John Carter. Music: Michael Colombier. 

If nothing else, Bill Duke's Deep Cover is notable for casting actors against type. Some of it works: Jeff Goldblum's lawyer turned would-be drug lord is full of humorous self-assurance tinged with menace. But Charles Martin Smith never overcomes the actor's nerdy image to establish him as a DEA agent confident enough to ask a series of Black federal agents a shockingly racist question and to manage the perilous situation he thrusts the agent played by Laurence Fishburne into. As for Fishburne himself, the role came early enough in his career that he was still being billed as Larry, which he insisted on changing once his career took off. He holds the film together even when it sometimes threatens to get derailed by too many plot twists. Although the movie asks the right questions about the compromised motives and veiled racism behind the so-called War on Drugs, it's undermined by generic thriller conventions and some preachy moments.