For movie enthusiasts who appreciate quality cinema, a long-standing frustration lies in the disproportionate attention given to blockbuster hits versus genuinely well-crafted films. It often seems that the larger a movie’s budget, the less likely it is to offer fresh or original perspectives. Conversely, while audiences are presented with a choice between movies that are innovative, complex, and meaningful, and those that are predictable, simplistic, and shallow, mainstream viewers often gravitate towards the latter. Driven by profit margins, major studios tend to cater to this “lowest common denominator” mentality. Consequently, exceptional independent films frequently struggle for visibility, confined to niche art houses in major urban centers, while formulaic, overblown productions dominate multiplexes across cities, suburbs, and rural landscapes.
Consider the film, “Where the Money Is.” How many have even heard of it, let alone experienced its charm? Yet, it’s a movie that embodies pure entertainment, a lighthearted black comedy refreshingly devoid of the pervasive cynicism and graphic violence that mar many films in the genre. From its opening scene, the movie captivates with its original plot and setting. Though set in a quaint Oregon town, (somewhat inexplicably filmed near Montreal), the movie introduces us to Linda Fiorentino and Dermot Mulroney, portraying high school sweethearts who married young, settled into their comfortable small-town lives, and have begun to take each other for granted. The opening scene itself is a nostalgic snapshot of their prom night in his cherished Mustang, a lingering symbol of youthful rebellion. It’s at Carol’s workplace – a local convalescent hospital where she works as a nurse – that a spark of excitement reignites their routine lives, rekindling a dormant sense of adventure, particularly in Carol. This catalyst arrives in the form of Henry Perkins (Paul Newman), an aging bank robber feigning a stroke to escape prison overcrowding and relocate to the nursing home.
The film’s early sequences are delightfully witty as Carol, suspecting Henry is exaggerating his condition, engages in a clever game of deception to expose his pretense. However, upon uncovering his ruse, she finds herself questioning who is truly manipulating whom.
To delve further into the plot would diminish the viewing experience, as the film masterfully maintains intrigue through its unpredictable and unique premise. Fiorentino and Mulroney deliver convincing performances as a couple who transitioned from edgy youth to responsible, settled, yet somewhat unfulfilled adults. Carol, in particular, feels constrained by the monotony of their life and marriage. Tom, while seemingly having outgrown his desire for risky living, is willing to meet Carol halfway – albeit with some hesitation – in her pursuit of excitement, even if it veers into lawlessness. Newman, as the seasoned bank robber who unexpectedly enters their lives, serves as the perfect trigger for their rediscovered adventurous spirit.
What makes “Where the Money Is” truly remarkable is its consistent lighthearted approach, thanks to the screenplay by Max Frye, Topper Lilien, and Carroll Cartwright, and the direction of Marek Kanievska. The film never loses sight of its primary goal: to entertain the audience. It achieves this brilliantly through its stellar cast, who appear to be thoroughly enjoying themselves (Fiorentino is particularly captivating). Their infectious enthusiasm translates directly to the audience, ensuring a thoroughly enjoyable and memorable cinematic experience. If you’re searching for a smart, funny, and original film that flew under the radar, “Where the Money Is” is definitely worth seeking out.
