‘Confessions’ a detective story of a difference

Press, 13 September 1982, Page 4

‘Confessions’ a detective story of a difference

AT THE CINEMA

Hans Petrovic

TRUE CONFESSIONS Directed by Ulu Grosbard Screenplay by John Gregory Dunne and Joan Didion Be warned. "True Confessions" (Westend) is not one of your run-of-the-mill detective stories, such as the recent T. the Jury" of "Sharky’s Machine’." In fact, this film is less interested in the murder than in the atmosphere or moral exhaustion and corruption in .which two brothers — a sin- and a crime-fighter — arc immersed.

And. if you are eagerly following the outcome of the murder mystery, also be warned that "True Confessions” ends with evasions. It seems deliberately ambiguous in matters of who killed the victim and why: though it is painstakingly detailed in the seamy side and kinky aspects of death and corruption, brothels and morgues and the absurd uses to which a confessional can be put.

What holds this drama together. however, are the superb performances by two of America's leading screen actors: Robert De Niro as Desmond Spellacy. an up-and-coming monsignor of the Catholic Church who is on his wav to some of the

highest honours the church can bestow; and Robert Duvall as Tom Spellacy. Desmond's older brother, a Los Angeles detective of shabby background who is now pursuing justice at all costs. The excellent period piece is set in Los Angeles during the late 19405. One Catholic priest is found dead in a brothel and Tom neatly hushes up the incident for the sake of his brother and the church. Soon afterwards. Tom is assigned to a murder case, in which the bisected body of a part-time actress is found in a park. Although a grisly murder, the case seems simple enough until some of the evidence leads to Jack Amsterdam (Charles Burning). a big-time Los Angeles contractor and pillar of the Catholic Church. A former pimp, Amsterdam has come a long way. building church schools at cost, being honoured as Catholic "Layman of the Year" and even getting to shake the Pope’s hand. The trouble is that he is not as nice a fellow as he would have society and God believe, and is somehow associated with the killing. Another problem is that young ,Monsignor Spellacy has been hob-nobbing with Amsterdam and other influ-

ential Catholics in his unabashed efforts to raise church funds. Thus, "True Confessions" boils down to a basic, moral dilemma: How much of what he knows should Detective Tom tell his brother, howmuch should our father tell his superiors, and to what extent should he continue associating with these unsavoury types? It is these problems, more than the actual murder, that turn "True Confessions" into such an intriguing exercise. Besides the two major roles, the strong supporting cast also fits neatly into a variety of roles: Charles Durning (last in "Sharky’s Machine"), in particular, seems to thoroughly enjoy his role as the coarse contractor; Burgess Meredith ("Rocky III") gives a fine performance as an aging priest who is being put out to

pasture; and Cyril Cusack comes across well as the cardinal who has made his archdiocese one of the country's wealthiest. Although not everyone's cup of communion wine. "True Confessions" is a powerful drama which leaves food for thought. The film also proves it is not always that "Father Knows Best." and a more appropriate sub-title might have been "Oh. Brother."