'In director Graham Moore’s 1950s gangster noir film, nothing is quite like it seems.' | ArionneNettles
, nothing is quite like audiences think it is—not the setting of the tailor shop, not the 1950s gangsters who are in and out of the shop, and not even the tailor himself.
Everyone and everything is more complicated than they appear. In the tailor shop, designed by production designer Gemma Jackson, nothing is symmetrical: Something is always lurking. The mobsters aren’t just mobsters, but dealing with their own insecurities. Secretary Mable, played by Zoey Deutch, is not the meek and mild young woman she appears to be. Out of everyone, she doesn’t need any protecting.
It’s all part of the surprises in this gangster noir film that does its job to test the limits of assumption. Over a 48-hour period, the characters in“We wanted this to be a kind of full-throated crime thriller with all the kind of fun twists and turns that the crime thrillers that I always grew up loving have,” Moore says. “But on another level, I think it’s a film about the difference between perception and reality.”is the Academy Award winner’s debut as a director.
Chicago’s storied past as a place of mob life can be sometimes overshadowed in cinema, which focuses heavily on the east coast. But Moore, who grew up in Chicago, shines a light on the history that happened here and the people who made it happen the Chicago way.is basically happening offscreen in New York,” Moore says.
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