A man sits writing in a room, alone in his head, alone on this planet. We hear his phrases, his ideas, in a voice-over that’s a portal to his actuality. It’s an intimate, unmodulated voice, and what he says is commonly unremarkable to the purpose of banality. Yet one thing troubles the person which, in flip, troubles you. He could also be a superb man gone incorrect or a foul one gone proper; the one factor sure is that he jumped out of the top of Paul Schrader.
The solitary man in a room is Schrader’s most indelible authorial signature, a defining picture and concept in a single. That determine most famously seems in his script for “Taxi Driver,” by which Travis Bickle, the cabby turned killer, pours out his rancid and bland ideas; and he’s the fulcrum of films that Schrader has directed, notably “Light Sleeper” and “First Reformed.” The solitary man returns in “The Card Counter,” a haunting, shifting story of spirit and flesh, sin and redemption, love and dying about one other lonely soul, William Tell, who, with pen to paper, grapples along with his current and his unspeakable previous.
A soldier turned skilled card participant, Tell — Oscar Isaac, a seductive power discipline — realized to depend playing cards in jail, a expertise he makes use of as he travels from on line casino to on line casino. Now, in nameless, interchangeable playing homes, he sits at blackjack and poker tables with strangers and generally different professionals, counting, betting and infrequently profitable. He’s a disciplined participant and a discreet gambler, profitable simply sufficient to keep away from unwelcome consideration. “The days move along with regularity, over and over, one day indistinguishable from the next,” to cite Travis Bickle. Every so usually, Tell spins a roulette wheel.
It’s so good to be in Schrader’s world (and head) when the film is pretty much as good as “The Card Counter.” One of essentially the most enduring veterans of New Hollywood, Schrader is finest identified for his collaborations with Martin Scorsese, whose identify prominently ornaments this new film’s credit. At the identical time, Schrader has produced his personal distinctive directorial corpus that’s knowledgeable by classical Hollywood and by traditional worldwide artwork cinema, traditions he can put into productive pressure like few others. It’s at all times fascinating to see what he’s as much as, even when he doesn’t have a agency hand on his materials, hasn’t discovered its good (or near-enough) form and elegance — which he’s executed right here.
Tell is on a gradual, methodical roll when the film opens. As the story shuffles between on line casino scenes and pictures of him in jail, Tell sketches in his background: “As a boy, I was afraid of confined space.” Detention modified him, he says, omitting precisely how he went from the navy to Leavenworth. What issues is the now, the routine, and the way Tell scans the room, sizes up the competitors and retains his distance. His life has shrunk to the size of a playing desk, his present battlefield. I’d guess good cash that Schrader is aware of Clausewitz’s declare that “war most closely resembles a game of cards.”
As with different Schrader characters, Tell opens the door to his head by his narration, bringing you into the shadowy room by which he — like the remainder of us locked in existential solitary — struggles. In Tell’s case it’s a determined and troubled repository of horrors, a hellscape of reminiscences that emerge in visually distorted flashbacks to Abu Ghraib. There are echoes of different Schrader’s films right here, too, just like the lyrics from a music featured in “Light Sleeper” which are tattooed on Tell’s again: “I trust my life to providence/I trust my soul to grace.” And, you probably have by no means seen Robert Bresson’s “Pickpocket,” Schrader’s supreme cinematic affect, this is able to be a wonderful time to observe it.
Schrader appears altogether comfortable in “The Card Counter,” and has discovered a really perfect conduit within the protean, velvet-voiced Isaac, who joins avatars like Willem Dafoe in “Light Sleeper” and Ethan Hawke in “First Reformed.” As with these characters, Tell’s unease is first telegraphed by the cautious restraint you hear in his sepulchral narration, within the even tones he makes use of to ship each dramatic and quotidian info. His voice scarcely adjustments whether or not he’s describing find out how to depend playing cards in blackjack or recalling his time in jail. It’s as if these moments in time have been successfully indistinguishable, a degree underscored early by photos of Tell alone in a jail cell and in a motel room.
The anonymity of those modest rooms fits Tell, who remodels them by methodically eradicating the wall decorations and, in an eccentric flourish paying homage to Christo, wrapping up the furnishings — mattress, chairs, the whole thing — within the gentle material he travels with in a suitcase. There’s one thing monastic in regards to the outcome, as if Tell have been re-creating his jail cell. In doing so, he appears to be attempting to excise the mess and distractions of the fabric world, to maintain it in test and below management, a ritual that serves the character and in addition a director who stays a type of minimalist even at his pulpiest.
The story comes collectively piecemeal when Tell meets, in succession, La Linda (Tiffany Haddish) and Cirk (Tye Sheridan), characters who pull him in numerous instructions, radically affecting him and his trajectory. A supervisor gamblers, La Linda affords Tell the possibility to up his sport by occurring the poker circuit with profitable monetary backing. He demurs till some heavy issues arrive within the type of Cirk (pronounced Kirk), the teenage son of one in all Tell’s navy cohort. (A bit in regards to the child’s identify provides the film one in all its periodic, productively unsettling laughs.) Both males had served below Maj. John Gordo (Dafoe, splendidly lurid and mustachioed), a gargoyle whose emergence impacts Tell like an enemy invasion.
They’re memorable characters (a Schrader specialty), even when the performances waver, and produce alternately enigmatic and clarifying notes to the entire. Each helps shake Tell out of the stabilizing inertia — identical playing cards, identical faces, identical garish rooms — that he’s sealed himself in, as if in a sarcophagus. Limits have labored for Tell, and so they work for Schrader’s slow-burn storytelling. Time appears to face nonetheless in casinos, with their absence of home windows and clocks, an everlasting current that fits Tell’s routine, his hushed conversations and his walkabouts by carpeted passages the place he’s clocked by the gliding digicam. It all flows and it retains on flowing till the blood inevitably spills.
“The Card Counter” is being pushed as a thriller, a commercially expedient gross sales pitch. There are style components, as regular with Schrader, together with moments of febrile pressure and blasts of violence mingled in with the horror and the romance. Schrader likes enjoying with movie kind however he isn’t excited by typical heroes and beats, and even when he hits acquainted notes he does so along with his personal destabilizing rhythm and stress. The solely style that he works in now could be the one he’s been refining for many years, with its clean and jagged edges, blessed and exquisite ladies, soulful meditations and eruptions of violence. Its voices and faces change, however the Paul Schrader Experience retains raging.
The Card Counter
Rated R for scenes of torture and different violence. Running time: 1 hour 49 minutes. In theaters.