Whether or not the newest mob film “Black Mass” tells an accurate story of Boston mobster Whitey Bulger, it’s still unpredictable, violent and incredibly attractive. Directed by Scott Cooper, known for the indies “Crazy Heart” (2009) and “Out of the Furnace” (2013), “Black Mass” pulls all the stars, centering Johnny Depp as Bulger accompanied by Benedict Cumberbatch (Billy Bulger), Joel Edgerton, Dakota Johnson, and Kevin Bacon. Based on the 2001 book “Black Mass: The True Story of an Unholy Alliance Between the FBI and The Irish Mob,” the film tells the story of Bulger’s rise and fall as one of the biggest mobsters in Boston. While many people challenge its historical accuracy, “Black Mass” portrays mob life and violence as morally complex, simultaneously vilifying and sympathizing with criminals to create vicious, intriguing monsters.
Watching Depp as Bulger reach toward his wife to comfort her after learning their son has fallen ill, not knowing if he reaches to hug her or to kill her, I couldn’t help but think of Anthony Hopkins’ performance as Hannibal Lecter and how unpredictability and viciousness became part of the character’s attractiveness. Depp brings a similar level of unpredictability to Bulger, effectively masking his intentions toward others. Bulger praises, manipulates, probes, intimidates, and empathizes, and Depp displays this range wonderfully. Characters from both sides of the story, the FBI and the mob, create convincing tension throughout the investigation, shown in the mobs’ FBI interviews. ”Black Mass” intercuts “present day” interrogations with the narrative, using Bulger’s henchmen as narrators to give context and emotional weight to the chronology. The interviews come across genuinely; in one scene, the FBI agent asks if one of Bulger’s chief henchmen, Stevie Flemmi, ever saw Bulger murder anyone. Pairing Flemmi’s interview with Bulger’s “real time” hit achieves a convincing rawness; Flemmi doesn’t need to answer yes or no to the agent because we see him remembering the event.
The movie, rightly so, involves graphic violence, but Cooper mostly treats mob violence with a sensitive, appropriate distance. Most of the film’s uneasiness occurs in character’s eyes; as the crew drives to a hit, the camera revolves around the interior to follow each man’s gaze, rather than explain the situation through dialogue. This distance from their crimes creates a nice feeling of routine; I actually looked down at my notebook once and almost missed a hit. In its more intimate murders, the camera lingers, but usually the film brings you in and out of each murder without over-dramatization, and it works.
Like most mob movies, the role of women in the film becomes complicated because you always wonder, “What leads these wives to stay with these awful men?” For the most part, “Black Mass” sympathizes with Bulger and Connelly, showing them as caring husbands. Bulger comes home with roses and places a towel on his son’s forehead when he’s sick, and Connelly (although once stereotypically lifting his wife onto the countertop after she seems to be waiting for him in the kitchen) seems to respect his wife’s concern for his business with Bulger. One of the weaker scenes occurs as Bulger gives advice to his son about not getting caught. Johnson, playing his wife, doesn’t seem to have much motive to like Bulger here, yet she laughs along with him like he’s joking. The scene also doesn’t fit with the mob genre; usually, the men never discuss business at home, yet here Bulger’s wife seems to know about Whitey’s business without taking it seriously.
Otherwise, “Black Mass” accomplishes the urban feeling of Boston; grey sky, brown interiors, dreary streets. It maintains great attention to production detail, including intricate wallpapers, big-knotted ties for the men, and in one scene, Connelly’s wife even reads “The Exorcist” in bed. At times, the dialogue becomes hard to understand (it’s especially funny seeing Cumberbatch speak with a Boston accent), but the accents are mostly believable. The problem with “Black Mass” is how it’s presented, and whether or not the film accurately portrays its story. In one interview with chief henchmen Kevin Weeks, he criticizes the film for being pure fiction, arguing that some scenes never actually happened. He claims Depp’s Bulger is false, that Bulger never yelled or cursed as Depp portrays in the film. Bulger’s lawyer also criticizes the film for its inaccuracy; Bulger himself, still in prison, was not involved in the film, although Cooper and Depp claim to have attempted to meet him before production. Bulger declined.
Regardless of historical accuracy, “Black Mass” treats Bulger’s exploits with surprising humanity, portraying him as a vicious yet intriguing criminal. Depp’s acting and the film’s use of distance create a fascinating environment of unpredictability and tension, conducting each murder with odd (dare I say refreshing?) casualness. Throughout, “Black Mass” conveys Bulger’s story with such playful, seductive grace, manipulating and challenging the viewer to predict what the mobster does next.
Catch “Black Mass” at Kimball’s Peak Three Theater throughout the week at 2:20 p.m., 5:15 p.m., and 7:50 p.m., as well as at Tinseltown. Don’t forget the student prices at Kimball’s on Tuesday.