"Charlie" (Chris O'Donnell) is a hard-up student at the posh Baird prep. school where his bursary-funded status sees him looked down upon by many of his fellow, silver-spooned, colleagues. Their rather pompous principal "Trask" (James Rebhorn) is the victim of a rather messy and humiliating prank, and convinced that "Charlie" and his rather spineless pal "George" (Philip Seymour Hoffman) know whodunit, he decides to convene a meeting of the entire school to force confessions from the boys. Meantime, and always hard up for cash, "Charlie" is offered a job babysitting a blind man. Boy, is he in for a shock! His introduction to "Lt. Col. Slade" (Al Pacino) certainly opens his eyes. This man is a bully, not really any other word for it. He lost his sight fighting for his country, and initially appears as little better than an intolerant and foul-mouthed thug with quite a superiority complex and a penchant for bourbon. "Slade" and his new helper are destined for a luxury trip to New York for Thanksgiving. First class flights, a suite in the Waldorf and a $28 burger turn the young man's head but no so much as the confession his employer makes as to the purpose of the trip. What now ensues does follow a rather predictable path, but it's really the two characterisations that shine here. Pacino has, arguably, the easier part to play. His being the stronger, more forceful role as the epitome of the obnoxious. It's O'Connell who has to tread on the eggshells as he must reconcile his need for the cash, his dread of what awaits him back at school and a growing interest in this man of contradictions. By going to extremes so often, "Charlie" (and the audience) are introduced to a man who has standards he feels are long gone. Loyalty, dignity and maybe most of all - integrity. It's those virtues that he hopes to see in his companion - but will he? We are treated to a well written and delivered tour-de-force from Pacino here in what I think is easily his most emotional and visceral performance, and O'Donnell works well as the shy, introspective foil with whom he fences on an increasingly less one-sided basis. A disastrous trip to his family for turkey lunch is tempered by one of the best performed tangos you're ever likely to see on screen - and I found 2½ hours just flew by in a compelling and enthralling fashion. New blood in old veins, or vice versa, or both?

Aparajito

1956

...And Justice for All

1979