You see, it’s a double meaning
The first FBI bug ever planted was against the mob in Chicago in a tailor shop, circa 1956. When Chicago native Graham Moore, who broke into Hollywood by winning an Oscar for his screenwriting debut, The Imitation Game, learned this fact, the story began to write itself. And now, Moore makes his directorial debut with The Outfit, the story of an expert tailor (or rather, cutter - it is made very clear that “cutter” is the profession’s title) in the 1950s named Leonard (Mark Rylance) who, after fleeing his shop in London for ambiguous reasons, has relocated and started anew with a shop in Chicago. However, his very first customer was local mobster Roy (Simon Russell Beale), and ever since, he’s had to navigate his business with the mob, even to the extent of allowing Roy’s biological son, Richie (Dylan O’Brien), and adopted son, Francis (Johnny Flynn), use of Leonard’s shop as a place for clandestine communications. Meanwhile, working alongside Leonard is Mable (Zoey Deutch), who yearns to leave Chicago and travel the world. One night after close, Richie and Francis come to Leonard to hide a tape recording they believe contains the identity of a mob rat, and the conflict proceeds from there.
What’s immediately obvious is that this is going to be told in one setting; only the movie’s opening and closing scenes take place outside of Leonard’s tailor shop. I’m not sure if this was a creative choice versus a budgetary constraint, though my gut says the latter. Still, at a post-screening live Q&A, Moore remarked that “very few first-time directors ever get to say this, but I genuinely can: this is exactly the movie I wanted to make.” Regardless the reason, a single location we have, making what would appear to be an uninspired stage play adaptation, except this is an original screenplay. Though what is interesting about having the movie exclusively set within a three (or so)-room tailor shop is that the production team can micromanage every last detail. Of course, the movie’s world never gets a fuller, deeper breath, but this is because this shop is the film’s world.
Production designer Gemma Jackson and team clearly went to great lengths to create a bespoke setting – one that accommodates filmmaking functional needs, but also suggests an off-kilter nature of the world. The shop is washed in earthy fabric colors and leathery browns, very much resembling the musky world of these male characters. On the contrary, Mable is the sole source of color, with her full or checkered red jackets. Her juxtaposition made me yearn for her screen time all the more, as the “male earthy colors” were monotonous after a while.
As the shop is the movie’s world, it was important for Moore to bring Chicago into it. This was evident in not only its specific structural design, but also with how the characters spoke. I was pleased to learn they hired a great dialect coach, Kate DeVore of Chicago’s Steppenwolf Theatre, to perfect the cast’s 1950s Chicago dialects. As a result, California-born Deutch, NYC-born O’Brien, and Englishmen Flynn and Beale all nailed it. The world was further developed by Moore’s Chicago-specific dialogue, which included references to Chicago’s own “red hots.” So, while we rarely left the shop, the city was nevertheless felt.
Still, the star of the movie happens to be its “star.” Rylance, who, like his character, trained in the craft of cutting on Savile Row (to the point where he even created his own costume for the film), absolutely carries The Outfit on his shoulders, giving an endlessly fascinating and watchable performance. There’s so much depth in every glance, every action, every word spoken… even his expository voiceovers are more interesting than the film’s plot twists. Indeed, when you have an actor of Rylance’s caliber, the film’s floor is only going to be so low. And despite, at times, Leonard feeling like a poor man’s Reynolds Woodcock from Paul Thomas Anderson’s (much superior) Phantom Thread, Rylance adds so many creative choices, the character overlap isn’t bothersome. Fortunately, the rest of the ensemble play up to Rylance. Each of Deutch, O’Brien, Flynn, and Beale offer memorable turns, though O’Brien notably struck me for how much he’s grown from his YA movie roots in things like The Maze Runner.
As for behind-the-camera talent – as it turns out, working on a big budget, Oscar-winning studio project has its benefits, such as befriending eleven-time Oscar nominee composer Alexandre Desplat, who won for The Shape of Water and The Grand Budapest Hotel, as well as five-time Oscar nominee, and winner for Argo, editor William Goldenberg. So… big deals, and both presences are strongly felt here. Like many a great score, Desplat gives the film another character, one that adds growing tension and intrigue. Meanwhile, The Outfit certainly doesn’t overstay its welcome with a friendly 105-minute runtime; Goldenberg’s own cutting paces it quite well. Some of this is accomplished in moments that smartly weave together two different scenes of dialogue, set at different times, efficiently moving the story forward. Additionally, two-time Oscar nominee DP Dick Pope is certainly no slouch. His effective use of lighting, notably from one long ceiling light, provides a cool yet eerie amount of shadows, reminiscent of classic film noir.
As for Moore the director, well, let’s be honest: It’s quite the coup to have so many all-stars working on your feature debut. But I’m unsure I detected much of a director’s voice so much as someone who can manage a gifted team well – which, of course, isn’t a negative attribute. It also helps to have a smart writer, and as it so happens, Moore is smart. His exploration of the true purpose of clothing and what it says (or doesn’t say) about a person is interesting; the metaphors become increasingly obvious as the movie progresses, but are nonetheless wisely deployed. Where the movie falls short, however, is in its revelation of certain character truths. Every character is hiding something, while using clothes, actions, bravado, or elsewise to project another image. As these layers are peeled, the audience learns more about everyone involved. Some of these revelations work. Yet others feel, frankly, badly unjustified. The ending climax is not only undeserved characteristically, but also unnecessarily shark-jumping from a story perspective; the tonal leap is a far stretch from the film’s preceding 90+ minutes.
Yet, it’s a hard film to not enjoy experiencing. With this cast, this dialogue, these filmmakers… a lot works. But you know that feeling when you’re watching something, and you’re anticipating the brilliant twist? The breakthrough? Something akin to The Usual Suspects? But then you don’t get said-brilliance, and you’re left feeling unfulfilled? That’s what happened here, and it was an unfortunate note with which to end. Despite its strengths elsewhere, I think Moore believes the movie is smarter with some of its characters (notably Leonard) than its straightforwardness actually offers. Still, it’s decently entertaining for your dollar; our crowd left the auditorium generally pleased. And if it weren’t for the tonally dysfunctional end and its unjustified character-reveal, on which the movie is clearly hanging its hat, I’d probably be at 3.5 myself. As it is, The Outfit certainly passes, but I’m left more looking forward to Moore’s future all-star collaborations than wanting to revisit his debut. But most importantly… yes – we all now deserve the Leonard/Reynolds Woodcock multiverse.
Chris Trengove has a BFA in acting, an MA from the University of Denver in international relations, and during the day, he works for the economic development agency of Northern Ireland. While he's lived in Denver, Washington D.C., and Beijing, he calls Chicago home and has for most of his life. He lives with his wife (Laura) and two young boys (Aiden and Callum), and within a 20-minute walk of the Music Box Theater. Follow Chris on Letterboxd and Twitter.
What’s immediately obvious is that this is going to be told in one setting; only the movie’s opening and closing scenes take place outside of Leonard’s tailor shop. I’m not sure if this was a creative choice versus a budgetary constraint, though my gut says the latter. Still, at a post-screening live Q&A, Moore remarked that “very few first-time directors ever get to say this, but I genuinely can: this is exactly the movie I wanted to make.” Regardless the reason, a single location we have, making what would appear to be an uninspired stage play adaptation, except this is an original screenplay. Though what is interesting about having the movie exclusively set within a three (or so)-room tailor shop is that the production team can micromanage every last detail. Of course, the movie’s world never gets a fuller, deeper breath, but this is because this shop is the film’s world.
Production designer Gemma Jackson and team clearly went to great lengths to create a bespoke setting – one that accommodates filmmaking functional needs, but also suggests an off-kilter nature of the world. The shop is washed in earthy fabric colors and leathery browns, very much resembling the musky world of these male characters. On the contrary, Mable is the sole source of color, with her full or checkered red jackets. Her juxtaposition made me yearn for her screen time all the more, as the “male earthy colors” were monotonous after a while.
As the shop is the movie’s world, it was important for Moore to bring Chicago into it. This was evident in not only its specific structural design, but also with how the characters spoke. I was pleased to learn they hired a great dialect coach, Kate DeVore of Chicago’s Steppenwolf Theatre, to perfect the cast’s 1950s Chicago dialects. As a result, California-born Deutch, NYC-born O’Brien, and Englishmen Flynn and Beale all nailed it. The world was further developed by Moore’s Chicago-specific dialogue, which included references to Chicago’s own “red hots.” So, while we rarely left the shop, the city was nevertheless felt.
Still, the star of the movie happens to be its “star.” Rylance, who, like his character, trained in the craft of cutting on Savile Row (to the point where he even created his own costume for the film), absolutely carries The Outfit on his shoulders, giving an endlessly fascinating and watchable performance. There’s so much depth in every glance, every action, every word spoken… even his expository voiceovers are more interesting than the film’s plot twists. Indeed, when you have an actor of Rylance’s caliber, the film’s floor is only going to be so low. And despite, at times, Leonard feeling like a poor man’s Reynolds Woodcock from Paul Thomas Anderson’s (much superior) Phantom Thread, Rylance adds so many creative choices, the character overlap isn’t bothersome. Fortunately, the rest of the ensemble play up to Rylance. Each of Deutch, O’Brien, Flynn, and Beale offer memorable turns, though O’Brien notably struck me for how much he’s grown from his YA movie roots in things like The Maze Runner.
As for behind-the-camera talent – as it turns out, working on a big budget, Oscar-winning studio project has its benefits, such as befriending eleven-time Oscar nominee composer Alexandre Desplat, who won for The Shape of Water and The Grand Budapest Hotel, as well as five-time Oscar nominee, and winner for Argo, editor William Goldenberg. So… big deals, and both presences are strongly felt here. Like many a great score, Desplat gives the film another character, one that adds growing tension and intrigue. Meanwhile, The Outfit certainly doesn’t overstay its welcome with a friendly 105-minute runtime; Goldenberg’s own cutting paces it quite well. Some of this is accomplished in moments that smartly weave together two different scenes of dialogue, set at different times, efficiently moving the story forward. Additionally, two-time Oscar nominee DP Dick Pope is certainly no slouch. His effective use of lighting, notably from one long ceiling light, provides a cool yet eerie amount of shadows, reminiscent of classic film noir.
As for Moore the director, well, let’s be honest: It’s quite the coup to have so many all-stars working on your feature debut. But I’m unsure I detected much of a director’s voice so much as someone who can manage a gifted team well – which, of course, isn’t a negative attribute. It also helps to have a smart writer, and as it so happens, Moore is smart. His exploration of the true purpose of clothing and what it says (or doesn’t say) about a person is interesting; the metaphors become increasingly obvious as the movie progresses, but are nonetheless wisely deployed. Where the movie falls short, however, is in its revelation of certain character truths. Every character is hiding something, while using clothes, actions, bravado, or elsewise to project another image. As these layers are peeled, the audience learns more about everyone involved. Some of these revelations work. Yet others feel, frankly, badly unjustified. The ending climax is not only undeserved characteristically, but also unnecessarily shark-jumping from a story perspective; the tonal leap is a far stretch from the film’s preceding 90+ minutes.
Yet, it’s a hard film to not enjoy experiencing. With this cast, this dialogue, these filmmakers… a lot works. But you know that feeling when you’re watching something, and you’re anticipating the brilliant twist? The breakthrough? Something akin to The Usual Suspects? But then you don’t get said-brilliance, and you’re left feeling unfulfilled? That’s what happened here, and it was an unfortunate note with which to end. Despite its strengths elsewhere, I think Moore believes the movie is smarter with some of its characters (notably Leonard) than its straightforwardness actually offers. Still, it’s decently entertaining for your dollar; our crowd left the auditorium generally pleased. And if it weren’t for the tonally dysfunctional end and its unjustified character-reveal, on which the movie is clearly hanging its hat, I’d probably be at 3.5 myself. As it is, The Outfit certainly passes, but I’m left more looking forward to Moore’s future all-star collaborations than wanting to revisit his debut. But most importantly… yes – we all now deserve the Leonard/Reynolds Woodcock multiverse.
Chris Trengove has a BFA in acting, an MA from the University of Denver in international relations, and during the day, he works for the economic development agency of Northern Ireland. While he's lived in Denver, Washington D.C., and Beijing, he calls Chicago home and has for most of his life. He lives with his wife (Laura) and two young boys (Aiden and Callum), and within a 20-minute walk of the Music Box Theater. Follow Chris on Letterboxd and Twitter.
Categories: crime pictures
