At a bar, Easy meets DeWitt Albright, a mysterious white man looking for someone to investigate the disappearance of a missing white woman named Daphne Monet, who he suspects is hiding out in one of the city's black jazz clubs. The colours are beautiful too, from the orange skies in the day, to the hazy blues at night. The aesthetic of the film was enticing. No more all-white worlds of the 40's generation. Sizemore was good as the sleaze ball who hires Washington - yet he seems to good at playing these types in all his films. After goin' door-to-door all day long, I was back again at Joppy's bar trying to figure out where I was gonna go looking for work the next day. The acting is great - Washington giving another good performance.
After the people in the house leave, the car is once again a convertible. But my life had already changed when I lost my job three weeks before. The ending where Washington closes in on a house in the hills is very 'Big Sleep'. The smooth camera-work was mesmerising. The story is told from a black males view point and this makes the film very interesting to watch. . He looks left to see a gray convertible on the street.
Easy, innocently, accepts Albright's offer; however, he quickly finds himself amidst murder, crooked cops, ruthless politicians, and brutalizing hoodlums. I don't want to ramble on too much, so here goes. This film is underrated and deserves your attention. The story is gripping, if a tad predictable. Written by Goofs The scene after Easy and Daphne are in McGee's house where they find his body , Easy pulls into his driveway and gets out of the car. This film shows both sides of the coin, and doesn't end up with a chip on both shoulders.
Elsewhere, Beals was good as the titular devil in the blue dress. The film may be a tad predictable, but this should not deter you. He was hardly in the film, but when he was, his impact as Mouse was powerful. His narration was suitably dry too. The newspapers was goin' on and on about the city elections - like they was really gonna change somebody's life. Strapped for money and facing house payments, Easy takes the job, but soon finds himself in over his head. The first shot that tracks through the busy streets and then cranes up through the window to Easy is so Hitchcock - or any director of film noir for that matter.
Cheadle just chewed on the scenery. Devil In A Blue Dress is unique in terms of perspective. Clearly they used two identical cars in this scene. When he comes to his front door, the view changes and you see the same car with a hard top, over Easy's left shoulder. If you like your Sam Spade and your Marlowes this film will be fine for you.
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