During its existence, film noir, which later emerged in the form of neo-noir, has always represented public fear. Real fears that are feared, or even have affected daily life. Not ghosts, zombie outbreaks, or alien invasions, but World War, Cold War, government conspiracies, technology, and others. No Sudden Move is no exception, as Steven Soderbergh’s latest work, which, despite being set in Detroit in the 1950s, reflects the anxiety of today’s society. Top Movie Site
But as with deepest fears, the issues raised by Ed Solomon (Bill & Ted series, Men in Black, Now You See Me) through his script, are not immediately apparent. First, let’s see how the protagonist, a gangster named Curt Goynes (Don Cheadle), goes on a light mission with a high fee. At least that’s what he thought, but viewers who are familiar with the characteristics of film noir will know that it is only an opening gate to complex and dangerous problems, which are beyond the capacity of the main character.
Curt is not alone. Ronald Russo (Benicio del Toro) and Charley (Kieran Culkin) also participate. It’s not easy for them to work together, especially Ronald and Curt. Ronald, is a racist who even refuses to sit with Curt in the car. Disappointing for Curt, but a blessing for us, because it’s very interesting and contains funny jokes from the script, so it’s facilitated.
Of course Don Cheadle and Benicio del Toro played a big role. I feel at home for a long time watching the two throw sentences at each other. Cheadle, with his raspy and deep voice, perfectly represents the tone of the film. No Sudden Move doesn’t use classic film noir voice over, but I can imagine Cheadle fits perfectly into it, describing every dark corner of Detroit that could take a human life at any time, expressing a cynical perspective on life, implying the hardships he has and will experience.
Their mission is simple. Visits the house of an accountant named Matt (David Harbour), then forces him to take documents in his boss’s safe. Charley leaves with Matt, while Curt and Ronald take the accountant’s family hostage. Sequences in Matt’s house demonstrate Soderbergh’s ability to build dynamics, through directing that is not flashy. The tempo is slow, but with the accompaniment of jazz music by David Holmes, Soderbergh seems to produce a very strong magnet that drags the audience into each event. Best Movie
The chaos began when the safe was apparently empty. The chaos that, although quite complex and multi-layered, is unfortunately too familiar to provoke curiosity. After the first act hits, No Sudden Move’s second act is like a journey through a maze that we have visited hundreds of times.
Entering the final round, twist after twist began to emerge. The twist at first seems like an exaggerated attempt to surprise the audience, before the real intention is revealed at the end of the duration. As I discussed in the first paragraph, film noir is often used to represent fear at a time, and No Sudden Move’s twist, which involves various betrayals, is the same.
Fear of greed, of human dissatisfaction when looking at the coffers of money. Of course “lower classes” like Curt and Ronald also contracted the disease, but in the end, they (and us) are just victims of the greed of the rich people at the top of the food chain. Isn’t that what the public is afraid of now? Fear of powerlessness, when they become food for the owners of capital, who control everything (including the apparatus and government) from behind the curtain. Meanwhile, the common people had already lost everything (wealth and even lives), before they could open the curtain of injustice. Movie Review