It was our first movie date– a late-night after a long day– and we quickly dozed off. We left the theater groggy and mystified. When it popped up on our many channels, recently, Hubby#1&only could not resist the chance to revisit our date night. This time, we were assured we would not fall asleep since it was an 8 o’clock curtain
Dick Tracy, as it turned out, was a refreshing experience. With its painterly setpieces, and colorfully-clad villains and heroes, Dick Tracy is both lively and beautiful.
Director-producer Warren Beatty’s concept to pay homage to Dick Tracy‘s comic book origins is expertly executed by his design team, which consisted of production designer Richard Sylbert, set decorator Rick Simpson, and cinematographer Vittorio. Storaro. The result is a stunning work of film. It’s even glorious on a small screen. (For plot outlines, and backstory on production woes, Wikipedia has all the details at https://en.wikipedia.org/wiki/Dick_Tracy_(1990_film).)
The one quibble I have with Beatty’s work is that, while the other characters all show the flaws and physical eccentricities of their cartoon selves, perhaps out of vanity, Beatty’s Tracy does not have the crooked nose of the comic-book detective. The star-studded cameos, from Kathy Bates to Paul Sorvino to Estelle Parsons, with Al Pacino hunching over as Big Boy Caprese, are deeply disguised, even embedded, in their cartoon-inspired personas. Madonna as Breathless Mahoney is in full Marilyn Monroe mode. Glenne Headly supports Tracy’s with her own brand of knowing-innocence, and baby makes three with Charlie Korsmo’s deadend “The Kid.”
It was a pleasure finally seeing Dick Tracy in all its cinematic glory.