Atlantic Ocean and willingness to rescue world from evil dictators (and/or) incinerate millions of starving children aren't the only things that separate Europe from America. One of the most striking differences between two cultures is in the popular perceptions of the phrase "labour unions". On this side of the Big Pond the phrase is associated with images of brave and noble idealists who parade with red flags on 1st of May and fight the evil forces of capitalism in order to provide some decent life for a working man. In America phrase is almost exclusively associated with images of thugs who intimidate honest hard-working businessmen in order to provide extra cash for the organised crime. The latter view is best embodied in the real life story that had inspired Hoffa, 1992 biopic directed by Danny De Vito.
James R. Hoffa, charismatic and controversial leader of the mighty Teamsters Union, had already inspired more than one Hollywood film (Norman Jewison's F.I.S.T. being best known of them all). The plot begins in 1975, on a fateful day when James "Jimmy" Hoffa (played by Jack Nicholson) comes to an isolated restaurant, accompanied by his trusted lieutenant Bobby Ciaro (played by Danny De Vito). Two of them are about to meet their Mafia associate, and while they wait, Bobby remembers the days when he had met Hoffa for the first day. From that point on, film chronicles meteoric rise of young labour activist, man who wouldn't mind breaking law and use violence in order to fight for workers' rights, better salaries, pensions, right to join unions etc. In doing so, Hoffa would strike alliance with organised crime, and that would later haunt him, especially when he clashes with ambitious young senator and future Attorney General Robert Kennedy (played by Kevin Anderson).
Hoffa, with its surprisingly sympathetic portrayal of the controversial labour leader and the revisionist take on his mysterious disappearance, could have been quite an interesting film. Unfortunately, like in many similar cases, too many egos got involved to produce the satisfying result. First among them was Jack Nicholson, actor capable of chewing scenery, but whose performance in this film leaves much to be desired, although one-dimensionality of Hoffa's character isn't exactly his fault. Another ego is respectable playwright David Mamet who seems to think that bunch of men shouting four-letter words at each others could be the only good recipe for powerful drama; socio-economic context of the whole labour struggle got lost and the audience is left wondering what was that whole thing about. But the worst ego belonged to Danny De Vito, one of the best and most recognisable character actors in Hollywood. Before Hoffa he directed two very interesting films - Throw Momma from the Train and The War of the Roses. Those two films were however, more intimate than Hoffa, in which epic scope De Vito got lost and succumbed to temptation to put too much of his face in front of camera. As a result, De Vito's character - fictional composite of Hoffa's real life associates - manages to overshadow Hoffa's character, irritate viewers, kill any suspension of disbelief, and, finally, take away the last reason why would anyone would bother to watch this film.
RATING: 2/10 (-)
(Note: The text in its original form was posted in Usenet newsgroup rec.arts.movies.reviews on January 28th 2003)
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