Tequila Sunrise

If you're a Mel Gibson fan, don't miss this movie. It's his sexiest movie ever and, for the male population, Michele Pfeiffer is in it too and how! It's not just steamy, it's really hot!

"Tequila Sunrise" is worth seeing for three reasons: Kurt Russell's perfectly drawn noir cop, the sheer physical gorgeousness of Russell, Gibson, and Pfeiffer, and Raul Julia's stylish turn. It's incredible that the same person who wrote "Chinatown" (Robert Towne) brewed this cup of weak tea, whose only accomplishment here is to plate up a serious batch of eye-candy for a couple of hours (not that there's anything wrong with that).

TS's script fails because of its core dilemma: it presents shady, not to say outright evil characters, like a former high-level cocaine dealer, that it also wants you to LIKE. This problem starts with Gibson's role, Dale (Mac) McKussic. Mac, as written and as played by the too-endearing Gibson, is absurd. We are asked to believe that the cuddly, studly, loving Dad is actually the victim here, with a nasty ex-wife, traitorous friends, and an ambitious pal on the police force who wants to move up by collaring Mac's former connection, the legendary cartel leader "Carlos", and who may (or may not) be willing to use Mac to do it.

Gibson's Mac asks you to shelve everything you ever knew about the revoltingly evil nature of cocaine peddling, years of which have apparently left not the slightest stain on Mac's lovability (not to mention his conscience). Never mind all those schoolchildren that the stuff Mac brought in will reach, or the murderers and sociopaths he helped make rich . . .you just stay focused on those baby-blues of his.

Set in the South Bay area of Los Angeles during the 1980s, this story focuses on the difficulties of Mac, a former cocaine smuggler who once enjoyed a serious reputation in the drug trade. Now he wants to go straight, but, as Mac whines, "nobody wants me to quit." Mac's old friend, Lt. Nick Frescia (Kurt Russell), who heads up the area's police drug enforcement unit, might be ambivalent on that score, himself. Russell's Frescia is the only authentically played character in the film: hardboiled, ambitious, slick, and a tad flexible on the rules of engagement, but at heart on the right side.

Nick doesn't really want to send his old pal up, but Nick is under pressure from D.E.A. agent Hal Maguire, (another villainous turn by J.T. Walsh) to use Mac to find and bring in "Carlos". Nick likes Maguire about as much as he likes "Carlos", and is put in the position of choosing between a chance to get Carlos by trapping Mac, or standing between Mac and Maguire's ruthless tactics. As it happens, the mysterious "Carlos" has some "accounting matters" that he wants to clear up with Mac, and despite Mac's protests, is on his way into town, his ETA coinciding with that of Javier Escalante (Raul Julia), a Mexican drug enforcement officer working with Maguire, who is also after "Carlos".

Matters between Mac and Nick become more complicated when they fall for the same woman, restauranteur Jo Ann Vallenari (Michelle Pfeiffer). Deeply attracted to Jo Ann, Mac has taken to eating at her restaurant, always at the same table, offering law enforcement an opportunity to bug the table and to blackmail Jo Ann into cooperating as they try to use Mac to get to "Carlos". In-between all this, Mac hires Jo Ann to cater his son's birthday party, and, needless to say, the boy also falls for the pretty restauranteur (who is also a damned good cook - she not only runs the restaurant, but can dish up pasta quattro fromaggi with the best of them).

Jo Ann is actually a red herring: the truth is, she's only there to provide some romantic interest and relieve the macho essence of the film, and it shows - from a mile off, you can smell the clunky attempt to work her into the story so that it has some sex. The script also calls for Jo Ann to be "slick" but she isn't, not the least bit. Smooth, yes; slick no. The delicately pretty Pfeiffer, at this point in time, just didn't have the bite she later displayed as "Catwoman" and in "White Oleander", when her cherubic prettiness had hardened a bit. It's not Pfeiffer's fault - Jo Ann's part is badly written - maybe a young Lauren Bacall could have pulled it off.

Naturally, Nick also falls for Jo Ann and for awhile there, the viewer isn't sure who Jo Ann really trusts or who she is really interested in - the way this is written, she probably wasn't sure, either, till the last page. Oh - wait, she gets into the hot tub with Mac before the last page. Let me think- is that before or after she made love to Nick in the leaky wine cellar?

Finally, "Carlos" chugs into town, with enough cocaine on board to buy and sell OPEC; everyone meets up in the same place at the same time; more perfidy and double-crossing is uncovered; the guns come out; the explosions start; Jo Ann figures out who she's really in love with, all to the accompaniment of Raul Julia's rendition of "Santa Lucia".

"Tequila Sunrise" tries hard, but that's its problem: you can see it trying hard to be snappy and noir-ish and suspenseful and layered, but it isn't any of those things. There's a difference between a layered story and a confusingly written one - this is the latter. The characters' motivations aren't clear, and they are unbelievable as written. Only Kurt Russell inhabits a role well-anchored in the film tradition this movie apes, but doesn't fulfill. It's a great disappointment, given the talents of its cast and scriptwriter, that "Tequila Sunrise" is so eminently forgettable.

Mel Gibson and Kurt Russell are very good in this movie, and are very believable as lifelong friends at a crossroad. Mel is a retired drug dealer while Kurt is a cop. Not a likely duo to maintain a friendship. Michelle Pheiffer portrays the love interest of Mel, and do those two have chemistry! This is a perfect match, and they are combustible together. While this is an older film, it still has the ingredients that all great films do.

A great film with a turbulent beginning--starting with its production from Warner Bros and Harrison Ford pulling out due to conflicts over the screenplay and role respectively; to a carousels of who's who auditioning or being considered for the parts of Nick Frescia (Alec Baldwin and Miami Heat Head Coach (then with the Los Angeles Lakers) Pat Riley were considered for the role of Nick before settling with Kurt Russell) and Dale "Mac" McKussic (Harrison Ford was slated to play this role before he pulled out. Mel Gibson was signed on as his replacement); to admission sales possibly being bloated due to the initial teaser trailer of Tim Burton's Batman (1989) which was shown prior to the film (giddy fans were reported to have paid admission just to see the aforementioned trailer).

Now to the movie. Tequila Sunrise.

Other than knowing it was a film that "may have" won awards (and it did when it captured the Outstanding Achievement in Cinematography in Theatrical Releases and Most Performed Songs from Motion Pictures awards), I knew very little else of its history and sadly, even was staring in the film.

As the credits rolled, I even missed the title of film and Gibson's name. But then names of Pfeiffer, Russell, and the late Raul Julia popped up. Now this was certainly something interesting to watch. The lead character, Dale "Mac" McKussic (Gibson), is an ex-drug dealer who is trying to go straight. His "friend," Detective Lieutenant Nicholas "Nick" Frescia (Russell), throughout the film tries to entrap him, believing that he is unable to "go straight." Jo Ann Vallenari (Pfeiffer) is a restaurant owner and the love interest of both men. Vallenari had a consistent "glazed look," and in my opinion, was seemingly on drugs for the duration of the film. And lastly, my "the star of the show," Carlos/Comandante Xavier Escalante (played by the late Raul Julia) who truly made McKussic believe he was a "buddy."

Lastly, for an independent film, I have to tip my hat to Writer and Director Robert Towne--he really believed in this project and his passion was seen throughout the film and in his characters (especially Escalante).

I agree with other reviewers that this film was an homage to the "noir" films of the 40s and 50s. Although "noir" means "dark" or "black", this film is actually quite colorful and visually stunning and the cinematography is some of the best I've seen. Pay special attention to the scene where Kurt Russell and Mel Gibson are having a conversation while sitting on a swingset and all you can see are their silhouettes framed by a gorgeous setting sun and I think you will agree with me.

As for the story, I thought it was well-writen and very intriguing. I don't understand why some reviewers thought that the plot was hard to follow. I saw this film in the theaters back when I was 18 and I understood the plot, with all of its twists, perfectly well.

All of the actors in this film are perfectly cast and give excellent performances. Besides Mel Gibson, Michelle Pfieffer, and Kurt Russell, look for incredible performances by Arlis Howard, J.T. Walsh, and Raul Julia.

A very well-rounded and enjoyable "noir" film.