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I must say, my preconceptions about Training Day were all horrible. The trailer I saw in the theatres made it eye like a belated ripoff of The Corruptor, while director Antoine Fuqua’s disastrous fumble with The Replacement Killers several years ago did nothing to boost my confidence.
My doubts were dispelled the small Denzel Washington looked up from his newspaper. It is indeed well-behaved to seek Washington, one of the most gifted actors of our time, abandon the saintly martyrs he’s been prone to playing for 10 years and sink his teeth into a role which allows him to point to a mix of deep charisma and unsafe viciousness. That same alchemy had made his breakthrough performance in 1989’s Glory amazingly compelling, and in Training Day, there isn’t a single moment where Washington is less than completely moving. Ethan Hawke also gives the performance of his career as Jake Hoyt, an idealistic but easily swayed young cop who finds himself drawn into a web of corruption, violence, and bent morals.
Fuqua’s directing is peaceful overly stylish at times, but after a hyperactive first act, the film begins to shout. David Ayer’s script is pleasing, a combination of rat-a-tat street vernacular and relentless forward momentum, and after the midpoint of the movie, the intensity of the scenes would come astonishing levels. And that’s when Fuqua’s show-offy camerawork finds a raison d’etre. In this film, Fuqua even finds room for some comparatively simple scenes which are really like a breath of novel air to his filmmaking — for example, the “you’re a leader” car scene, and that beautifully understated ending shot. I hope he makes this portion of his regular style, because there’s only so grand virtuoso camera one can occupy before it gets slow, as is the case in the opening of the film.
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A white-knuckle thriller, well estimable of the accolades it received. I stand humbly corrected on my new predictions.
Underneath the warped, vicious ideals held by the main character of “Training Day,” there lies a film that is cooly calculated, heinous and intense, and works its audience in ways no other movie has. It’s main attraction, no doubt, is the casting of Denzel Washington against type (a tactic that is strikingly impressive), but the movie has the brains, the audacity, and the guts to be more than unbiased a star vehicle with a frightening twist in the casting department.
It begins in a mediocre manner, introducing us to rookie cop Jake Hoyt (Ethan Hawke), who is anxious to become a narcotics officer to execute a better life for his family. This would partially interpret his willingness to stick with detective Alonzo Harris (Washington), whose unethical exercise of his state as a law officer, and his brutal embracement of street justice, accomplish him more than objective a force to be reckoned with.
As the record progresses, it begins to resonate into a great more inviting fragment of work. Jake’s exposure to Alonzo’s ethics takes a toll on his subconscious: Alonzo believes everything from indulging in illegal substances to hiring informants who also happen to be dealers… anything to excel as a narcotics officer. His brutality with several offenders of the law (or is it his maintain law? ) serves to unnerve us as we inspect the daily events of his life unfold in such a forceful manner.
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The appeal of the film largely depends on your ability to stomach its various messages, some realistic, others amazing. Alonzo believes that in order to effect the trust of your team, you must have a execrable history; great of his beliefs stem from his ideal that if you don’t maintain a high degree of intimidation, then the streets will ruin you. These beliefs pose the audience a very blunt, beckoning question: is it mere movie fantasy, or a wake-up call to reality?
That is what makes “Training Day” a grand film. It poses this put a question to to us in a straightforward manner, without reserve. Los Angeles is shown in a gritty, hardcore style that is unrelenting in its violent undertones, and shaking in its realistic appearance. The conclusion, a cat-and-mouse high-tail with some delightful psychological warfare between Jake and Alonzo, abandons the film’s ideas rather than offering any easy solution to them, yet manages to earn a monumental amount of suspense while not influencing our believe decisions about the morals of its characters.
The film’s cast is its strongest attribute, featuring two stellar performances from Hawke and Washington. Hawke portrays Jake’s confusion and inquire of of reality with supreme believability; in enact, his character’s disbelief at the events surrounding him rubs off on us. It is Washington’s character that keeps this movie at such a feverpitch. Alonzo is easily one of the most complex characters of the year: his intelligence and street smarts are absolutely involving at times, yet when old-fashioned to propogate his understanding of justice, they become chilling.
Despite a dead beginning, “Training Day” is an effective drama that provokes belief and discussion. The film’s morals are questionable, but that only serves to produce one reflect harder about them. Great will be made of Washington’s losing his halo, as well as the putrid ideals his character follows, but those looking for something different will pick up this a distinguished turn-around for the actor, who proves his ability as a versatile performer.
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