Catch me If You Can (2002)


Spielberg’s “Catch me if you Can” was made in a relatively short-period, but it doesn’t show any lack of detail. Its suave topic helps display the acting chops of a young Dicaprio, as well as a usual good supporting performance from Tom Hanks. The movie takes a normal-looking kid from a steady family of a mother and father, and makes us feel tricked when we find out such a con-genius he is. The marriage between his parents doesn’t last forever, and a sense of fraudulence is always given off from the father, played by Christopher Walken; he gives advice to his son about beating law-enforcement, not that he needs it.

The catch of it all is that this young con, Frank Abagnale Jr., is smarter than the federal agents. He is manipulative, able to blend in, and above all an excellent actor. One of the most enticing scenes in the film is when the federal agent, Carl Hanratty, approaches the scene of the crime, a dirty hotel room, and finds that someone is in the bathroom, and that person we know is frank, yet he still miraculously gets away. He pulls it off like he is a part of another organization that beat him to the punch, and in fact asks for the federal agent’s I.D. in an attempt at realism. Once he gets outside and starts running,  Carl knows immediately that he really messed up; and not just in the case, but for his own mockery of an identity.

The film moves like Goodfellas, though toned down like a Disney version of it, and keeps our attention through the whole uprising of Frank. We see him when he has a pool and a house, with preppy men and beautiful girls occupying it. And we see him when he’s paying a prostitute in his child-like innocence sort of way, which could be a method of his and not a real persona, we don’t know. Above all, we see his desperation; jumps to him in jail, trying to escape in rags and an overgrown beard, he is a product of the heist. Addicted to the thrill of getting away.

The movie sums up its parts and proves to be an effective movie as a whole, with brilliant performances, a taut moral line, and some great, funny scenarios. This will no doubt go down as one of Spielberg’s minor masterpieces.

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