Vincent's life is on hold until he finds his wife's killer. Alice, his neighbor, is convinced she can make him happy. She decides to invent a culprit, so that Vincent can find revenge and leave the past behind. But there is no ideal culprit and no perfect crime...
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Mark Boone Junior,
Preston Tylk is an ordinary guy living in Seattle. When he discovers that his wife, Emily, whom he adores, is having an affair, he is devastated. Storming out of the house, he returns later only to find her brutally murdered.
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Christian von Aster,
While returning home after fixing the lights of a billboard, the worker Vincent Harris passes by a taxi with a damage door panel. When Vincent arrives home, he finds his wife murdered on the floor of the living room. He claims that the driver was wearing a red jacket and a ring with a large stone. Three years later, he lives in Brooklyn but is still chasing the killer of his wife. His dysfunctional neighbor Alice Parker has a crush on him, but Vincent is haunted by the ghosts of his past. When Alice meets the cab driver Roger Culkin out of the blue, she seduces him, damages his taxi and gives a red jacked and a ring to him. Then she forces him to meet Vincent, inventing a culprit to release Vincent from his past and stay with her. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
Emmanuelle Béart wants Norman Reedus and uses Harvey Keitel as her means
"A Crime" (2006) is a neo-noir set in New York City. The photography, story and characters are all noir. Emmanuelle Béart is a femme fatale of sorts. She wants Norman Reedus but his mind is on his wife, murdered 3 years earlier. Béart correctly figures that if Reedus could find the killer, he'd be free of the attachment and become hers. To that end, she implicates cab driver Harvey Keitel.
Actually the film has 3 crimes, and none of them leads to the expected results.
In order to implicate Keitel, the attractive Béart seduces him. He's no prize. He can scarcely believe his good fortune. The most interesting part of the film is the ambiguity of their relationship. The audience has to decide how to answer puzzling questions. How deeply does Keitel's affection go? To what degree is he fooled or fooling himself? Does Béart actually find him attractive? Why did she pick him out? Keitel gives an offbeat performance, as if he's constantly out of tune or his rhythm is not quite right. I think this was intentional, given the nature of his character. Béart's character goes very far to get her man or men. We are not quite sure why. Why is this French woman in America? What's behind her? Why has she had a skirmish with the law so that she's doing community service? What does she see in Broadus? Why is he so fixated on his wife's killer? Why does he go to such lengths to deal with Keitel? Without spoon-feeding us, indeed, by starving us of details, this movie presents this intriguing story of 3 unusual people and leaves it up to us what to think.
Consequently, some people hate the film, others like it a lot. I see it as neither bomb nor masterpiece, but in between. It tries. It reaches. Keitel reaches for more. He and the film don't always succeed, but plainly the application of craft in order to arrive at something new and deeper is present in this production.
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