Prohibition Agent Eliot Ness arrives in Chicago with sights set on dismantling Al Capone’s illegal liquor empire. After Ness leaves his first raid empty handed, he accepts that he can’t trust the cooperation of the rotten Chicago police department. He turns to beat-cop Jim Malone, an incorruptible veteran, to tackle the problem from a different angle and they are soon joined by accountant Oscar Wallace and expert-shot 'George Stone'. Together, the band takes out a liquor cache and begins to generate positive publicity under the moniker “The Untouchables”. Realizing they could put an end to Capone’s reign by booking him on tax evasion, the team tries to bag one of Capone’s bookkeepers. This sets off a cat and mouse game between them and Capone's goons in a tense, can't-trust-anyone, race to complete the mission or get rubbed out trying.
“The Untouchables” is a great film. It was actually not the film I planned to watch this week, but in light of Sir Sean’s passing, I moved a few things around to screen the performance that earned him his Oscar. Certainly his “Chicago Way” monologue was a standout, but I really adored the tough-love warmth his character emanated. His reassuring mentorship might place him in company with Obi Wan and Mr. Miyagi, if not for his depressing, pragmatic message that you must rise to meet evil with your own personal brand of it. Beyond Connery, the film packs in powerhouse performances and expertly ratchets up the stakes. The “Odessa Steps” homage/train station shoot-out scene was tense and beautiful, all in the same. And finally, Morricone’s score is perfect, with the “Death Theme” pairing film noir textures with real emotion and, my favorite, “The Untouchables” theme, furnishing a real sense of possibility, respite, and hope.