WATCH THE TRAILER HERE
First, the Recap:
At one time, you were on top of the world. Everything was working out, you had your success, and it all seemed like it would last forever. Yet, when the reality of faded glory reared its ugly head, suddenly life didn’t gleam so bright, and the unconquerable spirit within dimmed, leaving behind a hollow shell. The question then remained–will there ever be second chances? Such is the dilemma for former boxing champion Rodney Jones (Cuba Gooding Jr.), a Louisiana hero now turned a struggling divorcee, boxing coach, local club bouncer, and reluctant personal driver to the club’s shady owner, Rafi (Sam Thakur). Little does Rodney realize that his existence is about to become even more chaotic.
Upon running an “errand” with Rafi to the home of Russian mob boss Yuri (Richard Dreyfuss), events take a turn for the worst, putting Rodney in a position he truly never desired because of what he has witnessed–being in service to Yuri to stay alive. Linking up with his friend and local photographer Nic (Famke Janssen), Rodney ends up involved with an illicit scheme against Isaac (Gregg Bello), the son-in-law of Yuri’s primary accountant Shlomo (Ken Lerner), with the aid of a young girl named Kat (Lia Marie Johnson). But, as plans begin to frantically unravel, Rodney, Nic, and Kat soon begin to realize that the price to be paid for sex, murder, and revenge might be too high, and redemption out of reach.
Next, my Mind:
Desperation, loss of a moral center, pressure from forces outside feasible control, and the painful, sobering road to find even a chance of salvation all play center stage in this dark, gritty, candid, and impactful drama that marks the directorial debut of co-writer/director/actor Cuba Gooding Jr. partnered with producers Anjul Nigam, Steve Straka, and Hilary Shor. Exploring the tainted choices made by a man once used to living a life of winning and fame now reduced to a broken soul hoping to stay alive in the face of deep criminality and its wayward means of doing “good” business, the film wastes no time in immersing the viewer into Rodney’s soul-draining and beleaguered world which has been further drawn into sadness by divorce, loss of a valued mentor, and any sense of true self-worth, even when trying to make any amends he can and continue to serve the community of boxers whose world he still strives to influence. Once overshadowed by a brutal occurrence, the narrative becomes a portrait of moral ambiguity and self-preservation, showcasing how fear and violence are utilized by those in power to influence obedience and servitude on their behalf while leaving those caught in its wake betrayed, without hope, and pushed into using others to accomplish their own ends, no matter the ultimate ramifications. Yet, when confronted by the realities of what they’re actually perpetrating when finally witnessing these consequences of actions taken–the people who are hurt in other ways beyond just physically–there can rise up within a desire to make things right, to turn that bad into good, though in doing so, it may cost more than one is willing to give. This thematic dichotomy is displayed with a vivid potency during the film’s second act, all leading up to a finale that at least presents the potential for a glimmer of hope amidst the utter chaos of bad decisions and questionable means of attaining one’s desired goals. Beautiful overall cinematography embraces the characters and locales with effectiveness and evocative prowess that very much brings Rodney and Co.’s world to graphic, disturbing, yet engaging light.
Gooding Jr. makes good on what he excels at in front of the camera as well as, now, behind it–bringing dynamic characters to authentic, intense, spirited life–which he succeeds once again in doing as Rodney, a retired former boxing champ who more than longs for the days he meant something bigger to his community and those he held most dear. Now older and, frankly, used up, his efforts to maintain a good presence in the local city he hails from has become stigmatized by poor choices, loss of much respect he used to garner, and having to become buried in doing work for some less than savory individuals. Once that latter element becomes even more forced upon him, Rodney’s already skewed view of how he sees himself and now others gets magnified as he dives into a scandalous bout of planned treachery that sees him exploit everyone involved, despite his underlying nature that still reflects a kind, caring heart. When proceedings spin out of control, Rodney makes his bid to escape, and Gooding Jr. absolutely owns the screen throughout, giving the character a riveting resonance, sometimes understated, sometimes blatant, that so deftly illustrates the inward and outward fight he’s in.
Janssen likewise lends a grounded, unapologetically raw performance in her role as Nic, Rodney’s longtime friend and local photographer who, like him, is eking out a living doing the best she can through photo shoots of any kind that suit her as well as other menial jobs she manages to hold onto. Having her own personal baggage to deal with, Nic’s initially unassuming involvement with the mess Rodney gets her into soon turns south, upending her life, and possibly ending it on multiple levels. It’s a character that’s both heartbreaking and entertaining to witness, and Janssen brings her full, strongly emotive skills to bear for it. Dreyfuss, a true veteran and unparalleled character actor, lends his undeniable gravitas to Yuri, Russian mob boss and hidden authority behind the town’s many facets, whose subdued exterior belies a cruelly volatile manner that becomes the catalyst for Rodney’s indentured servitude to him. Having a rather prototypical but grimly humorous phraseology by which he describes his means of disposing of those that disappoint him, Yuri remains a villain we love to hate thanks to Dreyfuss’ mere presence and ability to chew scenery so overtly well, regardless the amount of screen time he’s given.
A real surprise here is Johnson, who at such a young age already owns 40 acting credits to her name including this film, displaying a solidly mature turn mixed with innate innocence as Kat, a 16-year old girl with stars in her eyes who becomes a willing yet naïve target of both Rodney’s infatuation and bid for staying alive. Her own desire towards Rodney, illicit in itself much less flat out illegal, lends that uncomfortable yet necessary element to the plan she becomes a part of. But, it’s that exact doe-eyed virtuousness and underlying wholesomeness that makes Kat such a credible and persuasive character to watch, wanting to protect her yet see her stand up for herself and find a way to succeed that rises above the base level of actions she allows herself to choose and/or be convinced of as being her “talents”. Johnson’s bubbly personality and stirring vulnerability really stand out here through this character, a testament to a real-life rising actress playing one for this story.
Bello does a fine job here as Isaac, the unfortunate son-in-law of one of Yuri’s main associates who becomes the butt of a set-up to test his loyalties and overall disposition, brought about by Rodney and Nic’s machinations. Isaac’s a tragic but vital cog in the events depicted, and Bello makes the character into exactly that. Lerner also does a solid job as Shlomo, primary accountant and associate to Yuri, who’s decided it’s time to move on and suggests Isaac as his replacement, setting off a chain of events that shines a harsh light on the not-so-decent man that Shlomo has been, even if behind the scenes. Thakur is perfect in his brief but also key role as Rafi, the owner of the local club where Rodney acts as a doorman/bouncer and whose meeting with Yuri is the second catalyst for things to fall apart for Rodney. Additional supporting appearances are made by Katharine McPhee as Nic’s love interest Shelly, James Moses Black as Yuri’s right hand man Sasha, Nadine Lewington as Rodney’s ex-wife Amber, Tanyell Waivers as Kat’s friend Allison, Wayne Dehart as Rodney’s former mentor Coach Delroy, and Shane Callahan as local lawyer Benji, among many others.
In total, “Bayou Caviar” is an unflinching look at the complications, implications, and by-products of faulty choices made in a bid for newfound significance and one’s own well-being, whether forced or not, while still managing to end up illustrating that it’s better to overcome the struggle and find a way out cleanly than to compromise who we really are and watch how our decisions might not just destroy ourselves, but others as well.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
This movie sucked and you must have been paid by somebody to write all those glowing attributes to a pile of garbage.