Martin Brest is good at making difficult men worth spending time with. We value his generosity towards actors, though Scent of a Woman shows how easily that generosity becomes a reluctance to cut a scene short.
Fi1m perspective
In the tango scene in Scent of a Woman (1992), Al Pacino's Frank Slade is allowed to enjoy himself without the film explaining why it matters. We were moved by how immediate that pleasure felt. Martin Brest can be generous in this useful way, letting a difficult character do something that briefly makes his company welcome. We rate his patience with actors, though he sometimes lets them keep going after a scene has made its point.
His feature debut, Going in Style (1979), introduced an interest in mortality and redemption. Beverly Hills Cop (1984) established him in mainstream studio filmmaking, while Midnight Run (1988) showed how much a comedy could gain from the chemistry between its leads. His fondness for two-person stories suited the move towards more intimate drama. The scripts are carefully constructed but leave room for improvisation, giving his actors freedom without asking them to supply the whole film.
Chris O'Donnell's quieter Charlie Simms matters as much as Frank in Scent of a Woman, even when Brest seems reluctant to admit it. Cinematographer Donald E. Thorin makes the weekend's expensive pleasures inviting, while Angelo P. Graham's production design helps us understand Frank's indulgence. Pacino can make the abrasiveness funny and let the hurt beneath it complicate our enjoyment. Brest is less sure about when to stop, both with the performance and with the lessons the film wants to teach. The familiar story remains funny and touching, but the repeated persuasion grows tiring.
The later Meet Joe Black (1998) and Gigli (2003) drew complaints about length, tone or execution. Gigli was substantially altered by studio-mandated changes, which makes it a less straightforward measure of his judgement. That film should not obscure his ability to make an abrasive man interesting, or the patience required to let another actor quietly match him. Start with Scent of a Woman if Pacino's company appeals; do not expect Brest to hurry him along.
Biography
Martin Brest is an American film director, screenwriter and producer. Born on 8 August 1951 in the Bronx, New York, he studied at New York University and the American Film Institute.
His feature debut was Going in Style (1979). He went on to direct the comedies Beverly Hills Cop (1984) and Midnight Run (1988). Brest directed and produced Scent of a Woman (1992), which received Academy Award nominations for Best Picture and Best Director. He later directed Meet Joe Black (1998) and Gigli (2003). His student short Hot Dogs for Gauguin (1972) was selected for the National Film Registry.
