Jimmy is an aspiring concert pianist. He also has a few sexual knots that need untangling.And he’s a brutal debt collector for his bottom-of-the-ladder loanshark father. The movie tracesthe couple of days during which his life disintegrates. This is not for everyone. The pace isdeliberate, with looooong stretches of nothing much happening, punctuated by explosions ofsurprisingly brutal violence. The whole is also shaded by a pretty pronounced misogyny. But thefilm sticks wi…h you, it really does. And Keitel is spectacular.
A mono soundtrack, but a very clean, sensitive one, free of noises. Once scene has dialoguethat is rather hard to follow, but as the commentary makes clear, this is a feature of the originalsoundtrack (director James Toback helpfully recites the dialogue at this point).
The (anamorphic) widescreen ratio is not indicated, but it looks like 1.78:1 to me. I’m usedto a lot of films from this period having a somewhat gritty, washed-out look. And while Fingersis no exception, the transfer is beyond reproach, capturing that look perfectly, but the contrastsare strong when required, and the blacks dead-on.
The highlight is James Toback’s commentary. Extremely informative and a joy to listen to,illuminating not only the film but the industry context in which it was made, all commentariesshould be this good. Everything else is just a step above filler: a 5-minute conversation withToback and Keitel about independent films, the trailer, and filmographies for Toback and Keitel.The menu is scored.
Approach this expecting epic sweep of The Godfather or the stylish excitement ofGoodFellas, and you’ll be disappointed. But Keitel is rivetting, and there is lots of fascinatingstuff here.
Special Features List
- Interview with Harvey Keitel and James Toback
- Theatrical Trailer