For most of the 20th Century building films around films stars was one of favourite practices of Hollywood. It continued, although less noticeably than before, even at the start of 21st Century. One such example can be found in The Mexican, 2001 crime comedy directed by Gore Verbinski.
Protagonist, played by Brad Pitt, is Jerry Welch, likeable and well-intentioned young man from Los Angeles who is, due to unfortunate set of circumstances, forced to do all kinds of jobs, usually dangerous, for criminal organisation run by imprisoned mobster Arnold Margolese (played by Gene Hackman). His last job takes him to Mexico where he must obtain “The Mexican”, the priceless handmade 19th Century pistol rumoured to brings misfortune to anyone who holds it. After he obtains the old weapon, he must deliver it to Margolese and his men. Although it is quite apparent that failure to do so will result in his elimination, the latest mission is the last straw for his long-suffering girlfriend Samantha “Sam” Barzel (played by Julia Roberts), who decides to leave him and start working as waitress in Las Vegas. There she gets abducted by Leroy (played by James Gandolfini), hitman who explains that she is to be held as “collateral” in order to make certain that the Jerry would deliver “the Mexican”. In the meantime, Jerry encounters all kinds of problems in Mexico that involve local criminals, corrupt police and some of his associates that might have their own ideas in which hands “the Mexican” should end. While Jerry struggles to get antique pistol out of Mexico, Sam starts to befriend her abductor who reveals his gentle, sensitive side.
The Mexican looks like the attempt to pair Brad Pitt with Julia Roberts, some of the most popular Hollywood stars of its time, in order to brings all their fans to the cinemas. The plot and characters, on the other hand, suggest something more suitable to quirky low budget independent comedy. But, in order to such film to work, a Tarantino-like talent is needed. Scriptwriter J. H. Wyden, sadly, didn’t have it. The Mexican instead meanders between different genres – quasi-Tarantinoesque black comedy, modern western, deadly serious drama and romantic comedy – while taking all the worst cliches of each one. The idea to have Pitt’s and Roberts’ character separated for most of the film is probably the most fortunate in The Mexican, since those two actors, at least here, don’t have necessary chemistry to be seen as romantic couple. Roberts seems more at ease in scenes with James Gandolfini who very effectively plays bizarre character of assassin who transforms into his target’s best friend and who is, just like in many “politically correct” high budget films of its time, revealed to be gay. He is the best thing in the film, closely followed by Alan Silvestri’s music soundtrack which would remind cinephiles of Ennio Morricone and his classic work on spaghetti westerns. Their efforts, however, don’t make The Mexican into anything more than merely watchable. The plot is overlong, there is too little humour to match sometimes unnecessary brutal violence and the ending will leave many viewers indifferent. The Mexican didn’t impress critics much, but it did fare well at the box office, allowing its director to continue career with Pirates of the Caribbean films.
RATING: 4/10 (+)
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