Jack & Lou: A Gangster Love Story

*This film was produced by Maria Sara Santoro, Hatuey Rodriguez and Max Pearce.

Jack & Lou: A Gangster Love Story recalls the real-life events of organised crime in Chicago during prohibition. Told through the lens of a 70s interview with the ‘present day’ Lou Rolfe (played by Linda Hamilton), we follow her past relationship with Jack McGurn as he rises in the ranks under the rule of Al Capone. It’s a subject we’ve seen before. We’re reminded of The Untouchables and The Godfather frequently, and the film is okay with wearing its visual references on its sleeve. But, contextually, the fascinating thing about this movie is the fact it has eleven directors and eight screenplay credits. This is due to the fact that production of the film started with a class of USC students. What’s much more fascinating, however, is the fact that the picture holds together as a most watchable and entertaining piece of movie making.

The first thing to say about the piece is that, with a budget of only half a million dollars, the set and costume design is impeccable. Streets are dressed as 20s Chicago with an inspiring level of authenticity and detail; characters are costumed perfectly; and the world we see feels entirely lived in because of the interior sets, and the quality of the exterior surroundings. An example concerning this last point: audiences will be incredibly impressed by the period-appropriate vehicles placed on the streets, in addition to the absolute achievement of a low-budget production seamlessly disguising the shooting location of a contemporary city.

You would expect that a film with eleven directors to be a disaster. Perhaps a watered-down, or tonally muddled feature. Yet viewers will be shocked to find that this production idiosyncrasy is practically unnoticeable. To do some guessing work, I’m going to attribute a lot of this to director of photography Devon Johns. For one, the lighting in this film is simply unbelievable and is kind of the real star of the show. Johns fluctuates between the softest, most wonderfully well-distributed lighting of rooms and wide shots, to the most striking, expressive, Gordon Willis-esque compositions you’d hope to see in a gangster flick. It’s phenomenal work and deserves some recognition. Not to mention, the decision to shoot the picture with extreme wide apertures (shallow focus) is an intelligent way of maintaining a consistent look despite the frequently changing directors. It also means that the first AC / focus puller certainly has their work cut out for them as well – and that too I’d say is consistent from beginning to end.

Its story is as to be expected. A standard retelling, but with enough character details and perspectives sprinkled in to make it interesting. The performances are also played at the right level of cheese and fun and then seriousness; and the sound design is very strong, almost invisibly so in places. But it unquestionably stands out as a strong work due to its aesthetics and mise en scène. A very positive effort from all involved.