WATCH THE TRAILER HERE
First, the Recap:
Shackled by what is undisclosed and disguised. There are those things we hold within us that can be a harbinger of inward and outward strife, for the longer they remain hidden away, the more they fester and gnaw at us, begging to come out. Yet, is this not precisely what SHOULD be allowed to occur, to release it all, to be free, to just BE who we are? Easier said than done when the world we inhabit is quicker to judge than forgive. Bobby (Gerard Garilli) dwells on such things, even as his childhood was filled with both love and animosity for a particular choice he kept making, carrying forward now into adulthood and his involvement in the family business–organized crime. Relying on the love he shares with Claire (Maria Marinaro) and the unwavering support of his uncle Rocco (Frank Osso), it soon becomes apparent that the ONE primary secret Bobby desperately holds onto may not be best to hold in–but neither to become known.
Next, my Mind:
Leave it to the realm of indie cinema to plausibly discover a means to mix the mafia with chasing self-identity, which is what gets conclusively presented via the former’s gritty attitude and the latter’s deeply human heart through this 108-minute feature film from director/producer Joseph Pupello, writer/producer Peter Panagos, producer/cinematographer/editor Andrew Froening, and executive producer Gerard Garilli that firmly takes what could have been just another average mob movie and turns it into a surprisingly compelling and wholly relevant exhibition of our contemporary times. Now, while we can all attest that some fusions of subject matters DON’T work well together and can lead to an unsatisfying mess trying to be something more than it really is, here we are given what this critic felt was a highly intelligent and freshened-up take on this overall genre of film that makes it stand out, evoking unanticipated degrees of personal and societal introspection, while still remaining engaging throughout its runtime.
Told with excellent pacing and consistently delivered dramatic flair that solidly compliments the film’s grander but nicely uncomplicated, visually straightforward execution, the narrative manifests itself between present-day and necessary flashbacks, depicting a young man fighting against (yet at the same time embracing) a specific piece of truth he’s lived with since childhood who now finds himself virtually imprisoned within the confines of arguably one of THE most unyielding, uncaring organizations he could possibly attempt to carry it amongst. It is this facet alone that elevates the project, allowing us to experience a pause (though not entirely) from the perhaps “normal” expectations of high order violence associated with films focused on “the life” and “made men”, instead choosing to address a far more relatable, grounded, credible look at one man’s hesitations about even BEING a part of it much less confronting his own proclivities, persona, and changing demeanor of how it can or cannot fit into his mostly involuntary journey in a crime family.
Amidst this foundational exploration, we find an accumulation of additional thematic tangents that weigh in on the somewhat predictable concepts of “duty”, loyalty, family, honor, and respect but then very deftly delve into notions of racism, discrimination, prejudice, broken homes, friendship and brotherhood, betrayal, deceit, the need for an accepting community to belong to, the perils of keeping things hidden and the accompanying burden that comes with that decision, desperation for being confident in, true to, and stepping out as who you really are, running against the flow when factors are trying to make you go with it, living up or down to the expectations of others and yourself, protecting those we cherish, defying our demons (proverbial or real), and having to acknowledge that there could be a high price to pay for desired liberation that won’t be as freeing as you might think. Folks, it’s all there and then some, full on and developed through the story and characters, culminating in a finale that admittedly ends up tugging the heartstrings while conveying a keenly persuasive moral message.
Garilli, whom I had seen previously in the indie feature film “Hard Laughter“, brings to the table this time around what I found to be a perfectly designed and performed “everyman” demeanor intermixed with a mildly muted tough guy act through his role as Bobby Russo, a child and now man of crime who doesn’t truly seem to completely adopt “the life” he’s been indoctrinated into, despite the many moments of nefarious deeds he does find himself involved in for the sake of “the family”. But, behind it all, Bobby wrestles with another side of himself, one that he seems to relate to on a much more profound level, though to do so is to risk everything he has, is, and could be, even as the encompassing struggle of self-love vs. self-loathing and ongoing uncertainty haunts his reality. I loved how much legitimate affability was presented in this character, which in itself thwarts the entire perception of a mafioso, but again that’s what makes it work, and watching Garilli navigate the dilemma being scrutinized is a pleasure to watch, as you just cannot help but root and hope for his character’s emancipation.
Primary supporting roles arrive in force, first through Osso as Bobby’s no-nonsense, tough-as-nails, yet undeniably caring uncle, Rocco Russo, whose control over the organization and influence (for good or ill?) over Bobby remains steadfast and relentless and I appreciated how Osso infuses the character with both likability and love-to-hate (maybe?) instances that give Rocco some depth beyond just being another mob leader. Freddie Maas excels in being JUST a “love-to-hate” character through his role as Dominic Russo, Bobby’s head-headed and way overbearing father whose verbal abuse of his family may only be trumped by his own ambitions and disdain for most other people around him. Maas simply nails the nasty attitude Dominic possesses with full emotional fire and bravado. Marinaro is a splash of both beauty and heart paired with a ballsy streak worthy of being a mob wife through her role as Claire Donnelly, Bobby’s lifelong infatuation, love, then spouse who’s been kept in the dark more than she realizes when it comes to her husband’s secret. Loyal to her man, she often tried to be the voice of reason and comfort as the couple try to establish a life together in the middle of the chaos and dangers Bobby takes on.
Edward John Socienski takes us on a ride through the fanatical actuality of a mob heavy via his turn as Alphonse “Allie Boy” Moretti, who has NO hesitations to carry out heinous acts, threaten anyone who crosses him, or rat on a fellow mobster if it means gaining ground in the family. Nicholas Giordano provides our look back on childhood as the young Bobby through whose eyes we see the building blocks being laid as to why he struggles with the burden he carries. Alex Di Trolio is Joyce Russo, Bobby’s doting mother who more than must defend her son against Dominic’s menacing manner as well as trying her best to understand her son’s battles with identity. Christopher Orangeo and Richie Rainero play Vinny and Richie, two of Rocco’s other enforcers, both actors exuding the machismo needed to pull it off well. Kevin Williamson is Chris Barlow, Bobby’s childhood best friend who finds himself in need of a friend’s assistance in the wake of a string of poor choices.
Additional supporting players arrive en masse via Aden Dixon, Frank Di Napoli, Robert Asencio, Emma Crivera, Ronnie Rainero, Robert Asencio, Dante Giovanni, Matt McManus, Justine Garilli, Sal Garilli, Antonio Caruso, Gerardo Arencibia, Victor Pontrelli, Joe Della Ferra, Erik Goyenechea, Joseph Pupello, Mya Ravello, Adi Owenn Visual, Natalie Arce, Jazalien, Lady Keyante, Stella Luna, Kimmy Summony, Carol Garilli, Genna Garilli, Elena Pupello, Jessica Panagos, Debbie Torsiello, Rosemarie Gonick, Joseph Della Ferra Sr, Samantha Warring, Johnny McManus, and Nick Torsiello. So, in total, “Dress Code”, with its cleverly conceived title carrying multi-faceted meaning, furnishes us with a freshly affecting and unexpectedly provocative portrait of criminality combined with the search for honest forbearance and necessary understanding that translates into this current world, sadly, all too well. In context, it leaves you asking: “Was it the price of “the life”, or for just LIVING as who you are?”. Good question, humanity, good question.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
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