His name is Leonard Burling (Mark Rylance), and he prefers to be called a ‘cutter’, not a tailor. He learnt his craft on Savile Row in England. Due to personal reasons, he migrated to Chicago in the ’50s, where he hides a secret.
He now operates a ‘tailor’ shop with his assistant Mable Shaun (Zoey Deutch), making fine-cut suits for the only stylish people who can afford them, the local gangsters.
Because of his vague association with the ‘mob,’ Leonard’s shop doubles as a secret ‘drop off’ point for his excessively persuasive clientele. As the gangster minions come and go, Leonard tries his best to mind his business and pay little or no attention to the parcels deposited and collected in a ‘drop box’ at the rear of his shop.
This captivating single-location, psychological crime drama was written and directed by Graham Moore who won an Academy Award for the screenplay for the 2014 historical war drama The Imitation Game.
Set entirely in Leonard’s shop, it gently unfolds into a disturbing drama reminiscent of a classic Alfred Hitchcock movie such as The Rope or Rear Window.
Gradually we are drawn into the plot as we are teased with glimpses of Leonard’s mysterious past and learn of Mable’s desires for a more romantic, glamorous and exciting lifestyle.
It is not until we are introduced to the two most unsavory characters, Richie (Dylan O’Brien), the almost likeable son of gangland boss Roy Boyle (Sir Simon Russell Beale) and the gang’s unlikeable henchman Francis (Johnny Flynn), that the whole story seems to take the first of its many sinister twists.
As these two sinister chaps regularly arrive to pick up packets of what appears to be the ill-gotten gains from what is obviously criminal activities left in the ‘drop box,’ they do not hesitate to let Leonard and Mable know that they are in charge.
Leonard and Mable are confident that if they don’t look in the ‘box’ or ask questions, all will continue peacefully. Well, that’s what they think.
Everything instantly changes one night when Leonard falls asleep while working back, and he realises he might have learnt far more than he should have.
A series of unstoppable, violently dramatic twists are suddenly put into play after hours a few nights later when Richie and Francis come banging on the shop door.
From now on, the story becomes even more suspenseful, suspicious, treacherous, and violent. The unexpected introduction of the additional ruthless gangster, Violet La Fontaine (Nikki Amuka-Bird) increases the suspense and, as expected, a touch more expected violence.
I certainly shouldn’t reveal any more, or I’ll spoil the surprising storyline for you, but I can say that what happens next is something I never saw coming. Neither did any of the characters, except for maybe one of them.
I thought this was an excellent story, script and production that did not need the CGI to create a delightfully watchable movie.
If there is any one thing that would have made the experience that little bit better for me, is if they had been brave enough to film it in black and white.
Next time someone says, ‘They don’t make movies like they used to.’ Tell them, ‘Yes, they do. It’s called The Outfit.’
Click below to view the trailer
