Well, that smile was interrupted by laughs. It was a refreshing blast to see the 60s portrayed in such a vivid and colorful way. However, the film is rife with moral ambiguity. He exudes charisma to fill another couple of movies. Tom Hanks, fresh from a more demanding turn in Cast Away, turns in a typically fine performance as the downtrodden, long-suffering and frustrated Hanratty. This was an entertaining and fun piece of film making from the ever-reliable Steven Spielberg. Having been passed around the studios for 20 years since the book rights were first optioned in 1980, the project began to gain traction in 2000 when David Fincher signed on to direct.
Paula Abagnale Amy Adams :. It explains the cons in enough detail for us to follow, but it always puts the thrill of the chase over a deeper examination of how Frank managed to pull off any one scheme. Dicaprio is a charmer and is very smooth as we watch his character do some fancy talk to the young ladies. If Steven Spielberg's film demonstrates that darkness can severely backfire in stories of a light or silly nature, we might logically assume that the opposite is true - namely that a serious or in this case factual subject matter can be handled in a fun, light-hearted way while still getting its substance across. Spielberg can thank the genial Mr. Hanks is the stepdad, uncomfortable in his role and yet trying the best he can, and DiCaprio is the gifted child somehow left behind, wondering how it is that he got that way. His marriage to Natalie Baye, the fine French actress, ends in divorce because obviously she hates being married to a loser.
DiCaprio working in a vehicle that shows his talent as Frank Abagnale, a man of many faces. After his father and mother get a divorce he runs away and starts pretending to be a co-pilot, a doctor, a lawyer. What starts as cat and mouse becomes something akin to father and son. The links are provided solely by this site's users. What starts as cat and mouse becomes something akin to father and son. Regardless of his reputation or the influence he wields over the industry, the story of Catch Me If You Can is perfect for his sensibility. The sign of a great film star.
It's very easy to see why all the women fall prey of this charmer. These meetings are a device on Spielberg's part: in reality, Abagnale never saw his father again after leaving home at 16. Verbinski would have handled the story incompetently while doing some justice to the period detail, just as he would later do with Pirates of the Caribbean. I loved the look of the film. While direct comparisons with Indiana Jones are a little misleading, this is as close as he's come to Indy for some time, at least in terms of entertainment.
There's a through-line with Goodfellas here, with both films justifying their protagonists' illegal lifestyles on the grounds that living a legitimate life causes more trouble and unnecessary effort. As much fun as it is to watch Dicaprio jumping from one place and identity to the next, forging checks and spending inordinate amounts of money at a whim, the film never really focuses on the morally bankrupt side of the story. He gives a very fine performance. Equally, there's a comparison with Death of a Salesman, with Leonardo DiCaprio standing in for Biff and Christopher Walken doing a very fine job in the tragic role akin to that of Willy Loman. Along the way, he's posed as a Pan Am pilot, a pediatrician, and an attorney. If you want a nice funny movie, not too heavy, this one will definitely please you. Spielberg assured hand gives us this time out.
It takes the potentially grim and gritty subject matter of confidence tricksters and spins us a merry yarn about the excesses of youth whose protagonist is always empathetic. While it perhaps doesn't go as far into its subject matter as perhaps it could have done, it's still a sterling piece of entertainment with a lot of heart behind it. Based on a true story, Frank W. DiCaprio's early career had seen him pandering to his pretty-boy image, but here he strikes a very good balance between fresh-faced charisma and emotional depth. Catch Me If You Can is a rollicking good romp with a good amount of heart and a trio of fine male leads. This really is a personal film from Spielberg, and a very good one.
They create the tone for what will follow. Arguably the best thing about Spielberg is his ability to convey meaningful, often complex ideas through scenes and stories which appear to be totally frivolous. It is your own responsibility to adhere to these terms. The first big success of Spielberg's film is putting us in the period. I'll be rooting for him at Oscar time. It has many of the elements which have characterised his best work: light-hearted adventure, a celebration of American values, a son searching for his father and a dry, often joyous sense of humour.
Fincher later jumped ship to make Panic Room, being replaced first with Gore Verbinski, then Lasse Hallstrom, Milo Forman and finally Cameron Crowe before Spielberg himself opted to direct. This film is great fun to watch with the winning combination Mr. Great cast including Leonardo DiCaprio, Christopher Walken, Martin Sheen and Amy Adams. No skirt seems too short, no car too modern, and no expression out of context or added purely to make the characters seem old-fashioned. In this instance, he returns to one of his familiar themes of a father-son relationship, using a familiar device in his work to tease out the deeper motivations behind Abagnale's tomfoolery.