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| Catch
Me If You Can
Directed By: Steven
Spielberg Plot
Summary - Review 1 - Review
2 - CURRENT REVIEWS
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| Steven Spielberg's film is based on the true story of Frank Abagnale, the youngest man ever to be placed on the FBI's "most wanted list." At the age of 17, Frank (Leonardo DiCaprio) had already posed as a doctor, lawyer, and pilot, and had become the most successful bank robber in U.S. history. FBI Agent Carl Hanratty (Tom Hanks) sets out to bring Frank to justice, but the precocious master of deception is always one step ahead of him. [TRAILER] What a pleasure it is to watch Steven Spielberg spread his wings. Since 1993, he has been unequaled among modern directors, delivering not just good but great films. Included in this period are such notable films as “Jurassic Park,” “Schindler’s List,” “Saving Private Ryan,” “A.I.” and “Minority Report,” perhaps the best film of 2002. And now, as the year comes to a close, he has casually released the most enjoyable and well-crafted popcorn film in years. “Catch Me If You Can” echoes the craftsmanship of classics like “The Sting” and “The French Connection,” films that tackled simple stories in extraordinarily gifted ways. People may walk out of “Catch Me If You Can” today with a whimsical grin, but much later I believe it will attain the notoriety of those films mentioned above. There are those who believe a film can only be great if it discusses something profound. To the contrary, “Catch Me If You Can” is a simple film about Frank Abagnale Jr. (Leonardo DiCaprio), an arrogant child who takes the illegal adventure of a lifetime. His parents have divorced, he has run away from home, and he devises several creative ways to make money on his own. He begins forging checks, only to notice that no one will cash an out-of-state check from a questionable teenager. His solution is to become a pilot, which gives him the status and the credibility to cash his checks throughout the world. Once he has stolen millions of dollars, and the press picks up on his escapades, Frank settles down, buys a house where he throws extravagant parties, and becomes a doctor at an area hospital to win the heart of a young, attractive girl. Hot on his trail is Carl Hanratty (Tom Hanks), a relentless FBI agent who needs to nab Frank to save his reputation within the bureau. “Catch Me If You Can” uses Hanratty in a very interesting fashion, his Christmas conversations with Frank adding depth to this fun-loving teenager and fueling a most engaging love-hate relationship between the two. And by making the pursuer as real as the pursued, Spielberg creates some conflict in the viewer’s mind. Are we meant to celebrate Frank’s cons, or is he a criminal worth condemning? Never is this conflict more evident than when the chase finally comes to an end. The first scene of the film establishes that Frank is in custody, his escapades occurring as flashbacks, but when the story finally catches up to the present there is a surreal moment of confusion. There is the exhilaration of the climax, but also the bittersweet longing for the chase to go on, and suddenly something deeper emerges underneath the film’s fun. At a length of 2 hours and 20 minutes, this fact is the film’s greatest asset. For hours, within a story of little action or suspense, Spielberg keeps us tuned in and engaged. This is partly due to a perfectly-paced story. “Catch Me If You Can” constantly jumps between the present, where Frank is in custody, and the past, where Frank commits his crimes. This structure divides the films into distinct chapters, and Spielberg knows perfectly when it is time to move on. This film becomes something memorable thanks to characters of genuine heart and dimension. Frank seems like the desperate child trying, in a sense, to get his parents back together. He maintains contact with his father and longs for nothing but the happy family memories of his past. Hanratty is a kind-hearted, but determined agent. Perhaps appropriately, the film’s climax is not a chase, but a suspenseful moment between the two built instead around words and trust. Finally, “Catch Me If You Can” oozes with craft and style. The opening titles alone are riveting. John Williams’ jazz score is surprisingly nimble and exciting, perhaps the best work we have heard from him in years. The film’s recreation of the ‘60’s is intoxicating, from costumes to settings, cars and dialogue. And Spielberg always makes this simple story visually enticing, whether through his subtle use of lighting and camera angles to his more obvious stylistic choices involving reflections, editing and energetic camera movements. Some may discount “Catch Me If You Can” as frivolous, but I believe it is an expertly-made popcorn film alive with energy, style, momentum and heart. It maintains a gripping balance between comedy and drama. It is not just another thief film, but an action film with realistic characters, motivations and surprises. As such, it excites not just the eyes, but the mind. Spielberg, in adding this light-hearted action film to his repertoire of dramas, thrillers, war films and science fiction, proves he is an artist without limit. 
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