Adapted by D’Stair from his own
short story, A Public Ransom is an
arch and compelling little indie.
The film’s literary origins are evident within the film’s extensive use
of dialogue, but also a canny ‘meta
fiction’ angle; Bryant and Steven
discuss the kidnapping as if it is
a story they are collaborating on,
wherein it soon transpires that it is
Steven who is the main character,
whose arc is manipulated by devious ‘author’ Bryant. Goodloe Byron’s performance is darkly charming; he essays a persuasive villain
A Public Ransom’s love and
respect for (and aspirations towards…) the indie/art cinema
pantheon is clear in every scene. A
character name drops Fitzcarraldo
at one point, and there are posters in the background for Repulsion and Stranger than Paradise.
The latter nod is perhaps a little
too apposite; the film’s style and
pleasingly lazy jazz ambiance is
directly influenced by Jarmusch.
Filmed entirely in black and white,
the film’s scenes are composed
of long, uninterrupted takes, and
A failing writer finds himself
embroiled in a kidnapping plot
whose deadpan malice creates a
palpable unease. Paranoia creeps
in from the shadowed edges of
the screen, as Steven, and the audience, are left guessing at Bryant’s motivations: is he actually a
depraved kidnapper, or simply an
urbane wind up merchant?
New Jersey Stage
there is talk. Lots and lots of talk.
Audiences’ mileage may vary towards such an emphasis on discourse and discussion, but for the
main part, this reviewer enjoyed
the tight dialogue, which snaps
and twists like a sharply played
game of cards.
September 2014
pg 74