They Live by Night: An Unholy Debut

  

There were so many aspects of this film that I found fascinating. The relationship between Bowie and Keechi was fast to say the very least. I found it interesting that such a fixed female character would even consider Bowie’s marriage proposal. When the two smoke in the garage she shows her attraction to him but she doesn’t hide her apprehension either. This led me to believe that it would take a little more than a gift and a proposal to get her in bed.

Her character’s arc was unrealistic, but I must say, kind of dreamy.  I know a lot of “tom boy” girls who had the romantic notion of being swept away and becoming a more feminine beauty type. I think O’Donnell engages that role, but her arc was underplayed and almost flat-line toward the end. At least there was more than one dimension to her character.  

Though the film’s focus isn’t Keechie and her transformation, I still find it

interesting that she did transition. I think, in a very focused way, she became more and more of the woman that Bowie dreamed about having in his normal life. So, in terms of character development I think her purpose was to be more of a mirror to Bowie’s character. Ray’s direction is brilliant in the way that he has Keechie innately make choices that reflect what’s going on in Bowie’s head. It’s a great use of characterization and really fascinating.

Granger gives an interesting performance as Bowie. Because Keechie’s character is representing one side of his duality, he is free to show the different facets of his “darker” side. Ray’s choices for Bowie’s character were so fully realized. He had a child like stubbornness and naiveté that got him in and out of nearly every situation throughout the film, but he also has an established sensibility and belief system that seems more worn out than other people his age. The way that he plays this duality was only strengthened by the blocking of the scenes. Flipping back through the images it’s obvious when Ray wants him to be seen as a man and when he wants him to be seen as a child.

I really think this is the strongest quality of the film and Ray perfected directing that duality throughout his career.  I really liked the location for the newlywed couple. There was something about  the father-son duo that was comforting and ominous at the same time. Knowing that  Bowie and Keechie weren’t going to live happily ever after put their little home in an  eerie perspective. It was almost a Stepford scenario. Throughout the film I kept thinking they were going to be given away by the either the father or son. I was glad in the end that the heavy responsibility of turning them over to the police was left to a darker character.

Speaking of darker characters... all I have to say is Mattie Masfield. She’s the super-hero of dark and relentless devotion. She’s not the typical housewife; she’s not the typical rat; but she plays both with such a heavy conscious that she singlehandedly brought a new level of emotion to the film. There was heartbreak in her character that shaped the choices she made. This is incredibly deep for such a small (but pivotal) character. I feel that she too was a character device, serving only to reflect Bowie’s journey and eventual decline, but what a great rich character nonetheless. The final scenes seemed to pick up pace and rise and fall on her intentions. She has an opportunity to make a choice that gives the story a happily ever after ending and the fact that she chooses to serve her best interest raises a lot of questions and sets the film on a different level. I loved Ray’s attention to this smaller role.