JUDY'S VIEW:

Thomas Jane. Definitely to be marooned on a desert island with material… What makes me want to see a film? It varies. Sometimes it's the concept, or the director, the preview or the actors. Nine times out of ten, however, I am motivated by the men in the film. What made me want to see DEEP BLUE SEA? No, it wasn't the sharks, ditto on Samuel L. Jackson (though I do like him a lot), nor the concept, as intriguing as it might be of sharks holding the key to curing degenerative brain disease. My motivation was a very short moment in the trailer that focused on an unrecognizable blond hunk in a tight, very tight black wet suit. After seeing DEEP BLUE SEA for the eighteenth time (I'm somewhat obsessive when I like something) my motivation was spot on. Having, amongst my circle of family, friends and colleagues, a reputation for spotting future stars (my first employer in the film industry, Jerome Epstein, thought I should be a casting agent… I had to choose writing as a career? I coulda been rich enjoying myself watching hunks audition all day instead of struggling for fortune and fame) I knew Jane had "it." Not only is Thomas a knockout-oh not the pretty boy Rob Lowe or Tom Cruise type-but more in the Harrison Ford strata.

Rugged features which in Jane's case are flattered by pine forest green eyes, deeply set dimples, a finger pressed upper lip and a sculpted cleft in his chin. A body to match-not perfect, nearly, but sexually charged because he carries himself as if unaware of how erotic he is to women. This alone would be enough to convince me of his future stardom, but add to this formula a true acting talent and you have a major home run. As is my habit when I spot a male as inspiring as Thomas, I went back and explored his career. Surprised, I discovered that I had seen him before, and had once felt the stirrings of 'future star' in an earlier performance of his. That role was in Malick's THIN RED LINE. I was struck by the lone soldier relaxing in the grass, injured leg keeping him from advancing with his unit. His scene with Wick was short but a needed respite after the harrowing charge on the Japanese camp. He impressed me in his three minutes on screen. Apparently he impressed Renny Harlin too, who fought to put him in DBS's lead. Having seen him in FACE/OFF, I felt no lusty stirrings as he so efficiently played a greasy-haired sleazy convict. The test of a great actor is the ability to portray both ends of the spectrum. His portrayal of a super skuz in CROW 2 made me laugh and seemed like a pre-surreal manifestation of the drug dealing rip-off gun totting lowlife Todd of BOOGIE NIGHTS. But the greatest surprise of all was his leading roles in small indie pictures.

As Neal Cassady in THE FIRST TIME I COMMITTED SUICIDE, Thomas showed the physical electricity and syncopation that would make his DBS performance so rich. The jazzy strains of Cassady's lingo and hyperactive rantings show his slightly unconventional rhythmic delivery of lines. His good looks were adapted via haircut and acting skill to boy next door and his sexuality matched Cassady's beat to beat (ugh, couldn't resist). His moment in the buff was an added bonus. Casey Wells has the Thursday from hell in THURSDAY, a biting look at how change is sometimes good, but only if you remain true to yourself. This film is a little gem of gratuitous violence, raunchy sex, obscene language and absurdity. I absolutely love it and have watched it five or six times on video. His portrayal of Los Angeles Casey and Suburbia Casey (both extreme opposites) and how circumstances force the final evolution of the two into the final, tough, firm but relatively moral Casey is terrific. During the rape scene, his face says it all. In the deadly confrontation with Ballpean, he does say it all, and no actor out there now can match him for physicality.

Having been unable so far to see VELOCITY OF GARY, I cannot comment, but am certain that playing the gay hustler in a bisexual trio could only enhance his sensitivity and acting skill. I've not been able to find the video for AT GROUND ZERO either, so if anyone has a copy, please let me know.

His jaunts in MOLLY (with his old buddy, the man we ladies love to hate Aaron Eckhardt) and UNDER SUSPICION with Morgan Freeman and Gene Hackman (a pair of master actors) will launch his star rocket into the stratosphere. For me, Thomas Jane has now joined the ranks of the actors I must see… whether the film appeals to me or not. He is now part of my small, but select group, e.g. Dylan McDermott who I first noticed ten years ago in a gem of a sf thriller called HARDWARE, Viggo Mortensen who I spotted in PRISON (Renny Harlin's early prison masterpiece). Renny may have the eye, except for THE LONG KISS GOODNIGHT (see www.greenlightscafe.com/long_kissgoodnight.html for a scalding article on this subject), and many others who I may just write another article on. Anyway, to sum it up, if you're a man lover go and see DBS with Thomas Jane. He makes a great film greater and if you've got to spend an hour and a half in the dark…

kevin update: Sunday 05/13/01

In UNDER SUSPICION Thomas Jane played the brash young French detective in Puerto Rico eager to bust the old buddy lawyer for a crime he so obviously did there was little need for proof. His anger and comtempt came through well, a perfect counterpoint to the seasoned Morgan Freeman who may have been blinded by his friendship.

In Billy Crystal's loving memory of 61*, Thomas Jane plays the bedding hopping, wild party nights drinking Mickey Mantle in the slugger home run race for 61 (both NY Yankees), to beat The Babe who had a similar looseness off the diamond. Mantle was the onwe the crowd loved, not matter how much was revealed about his private life. This was in stark opposition to Roger Maris (Barry Pepper), the quiet, introverted one the crowd loved to hate. Thomas Jane had to buckle down with the drinking during that summer and cut out the woman so they could hit the baseballs. Jane was terrific, but we would expect no less.