# Mickey Blue Eyes (1999)

### reviewed by
Mark O'Hara

    Mickey Blue Eyes (1999)

    A Film Review by Mark O'Hara

It seems the mafia movie has become a genre unto itself, whether it's a heavy crime drama or a spoof. Certainly, politically incorrect jokes are not dead at the turn of the century, as we see in Kelly Makin's "Mickey Blue Eyes."

Indeed, the funniest parts of the film come when cultures clash. Michael Felgate (Hugh Grant), an Englishman running an art auction house in New York City, collides with Italian-American toughs with results that keep the chuckles coming. Michael's future father-in-law is Frank Vitale (James Caan), and the scenes in which Frank tries to impose phrases like "Fuggedaboudit" and "Get oudda hee" atop Michael's dignified accent are hilarious. (They would have been even better had I not seen them six or eight times in trailers!) Of course Michael finds the entire mob culture repulsive, but even though he has promised his fiance Gina Vitale (Jeanne Tripplehorn) he would shun this culture at all costs, he finds himself assumed into it.

Family boss Vito "The Butcher" Graziosi (Burt Young) has arranged for Michael's delivery trucks to arrive on time, you see. Michael is so naïve he does not realize the reason for the rare promptness and contrite demeanor of the truck drivers. We can predict that Michael will be called upon sometime, someday, to return Uncle Vito's favor. It comes in the form of a request to auction the horrifically violent, religious-themed canvases of Vito's son Johnny, who paints as part of his therapy. The schtick surrounding Johnny is humorous because of his personality: the man embodies the pathology of jealousy, confronting every man who glances in the direction of his girlfriend. Unfortunately, Michael actually takes commission from the sale of Johnny's first painting - which draws him inexorably deeper into the mire of crime, especially as the Graziosi family is laundering money through these sales.

Will Michael marry Gina? After all, she has apparently avoided immersion in criminal activities all these years, while caring for her father and brother after her mother's death. And Michael can't seem to avoid being sucked into the lies and dark activities moments after introducing himself to the family. Anyhow, the tension builds at the same time more laughs are delivered, and the ending is happy if somewhat predictable.

Hugh Grant is not as debonair as Cary Grant, but he has similar innocent charm. Michael seems so likable because he is genuine, and we feel involved in his touchy dilemmas. He is an especially naïve Everyman, receiving punches in the stomach from the over-friendly doorman of Gina's building, playing along with elaborate lies and morbid schemes, many the machinations of Frank Vitale.

Jeanne Tripplehorn plays her part superbly. She shows just the right amounts of sweetness and doubt, joy and anger. We feel for her strongly when she is inadvertently involved in a dark twist of family fate - although her noble boyfriend is willing to take the fall for her.

As Frank Vitale, James Caan is believable but a bit disappointing. I've seen this veteran actor on talk shows, and in real life he seems more capable of the arch exaggeration of behaviors that would have put Frank deliciously over the top. Frank is a loving father and family lieutenant with years of experience, but a touch more goofiness would have fashioned a funnier tone in many scenes. Here director Kelly Makin shouldn't have been afraid to let Caan improvise a little!

The soundtrack of the film is highlighted by Italian-oriented novelty songs. We hear "Mambo Italiano," Dean Martin's suave crooning, and many others - all pieces that add to the fun.

The film is rated PG-13 for mild language, and mostly for crime-related material, such as bodies being carried in trash bags and buried near the river. There is also a brief scene full of innuendo, poking fun of British habits in lavatory stalls. Good for kids 12 and over.

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