Synopsis: When a theft goes awry, a veteran pickpocket is sent on a mission through New York to reclaim it.
Director: Noah Segan
Stars: John Turturro, Giancarlo Esposito, Will Price, Tatiana Maslany, Steve Buscemi
John Turturro is a fantastic actor who has delivered memorable performances for decades, but I often struggle to think of roles in which he has been given the opportunity to carry a film as its leading man. I immediately think of Barton Fink (1991), which earned him the Best Actor award at Cannes, but so much of his career has been spent delivering terrific supporting performances.
He has been a staple in Spike Lee movies, having collaborated with the New York Knicks-loving director nine times. But opportunities to see Turturro front and centre have been few and far between. Hopefully, The Only Living Pickpocket in New York will serve as a reminder that he not only deserves those opportunities, but that we, as an audience, deserve to experience more of his brilliance.
The movie was a bit of a challenge for me. I like John Turturro, but I absolutely despise pickpockets. Who likes pickpockets? You’re constantly warned about them when you travel because they can ruin your vacation. Heck, they can ruin your life in your own city. There is something particularly frustrating about someone taking advantage of you without even realizing it.
But sometimes a movie asks you to look beyond a character’s profession and consider the person behind it.
In Noah Segan’s latest film, which he both wrote and directed, Turturro takes on the role of a pickpocket named Harry. And he’s a good one. Harry lives in New York City and spends his days separating people from their belongings. Phones, wallets, watches and pretty much anything else he can get his hands on. He has spent years perfecting his craft and has developed an incredible ability to disappear into a crowd.
Despite his questionable profession, Harry finds himself in the role of protagonist in this film. He’s one of those people with a special set of skills, a sort of Renaissance thief who takes considerable pride in his work. He isn’t violent, and there is a certain code to how he operates. But we also learn that his life outside of pickpocketing is considerably more complicated.
Harry is caring for his wife Rosie (Karina Arroyave), who is unable to communicate and requires constant attention. Their relationship is one of the more touching elements of the film. Harry may spend his days taking things from strangers, but at home he is a husband trying to hold on to the person he loves. There is a tenderness to him that initially seems at odds with his chosen profession.
He regularly brings his daily take to a pawnshop dealer named Ben (Steve Buscemi), who acts as the middleman for his stolen goods. Ben knows Harry, understands his business and provides him with a reliable place to turn his stolen merchandise into cash.
Harry might have incredible precision and talent when it comes to pickpocketing, but he is holding on for dear life in a world that is quickly passing him by.
And this is where the film becomes particularly interesting.
Harry doesn’t own a cellphone and has little understanding of modern technology. He has spent a lifetime mastering an old-fashioned trade, but the world around him has changed. People are paying with their phones, transactions are becoming increasingly digital, and even the criminal underworld has evolved. Harry is essentially a man operating with an outdated set of tools in a world that no longer plays by the same rules.
There is something rather fascinating about watching a character whose greatest skill is becoming less valuable with every passing year. In many ways, Harry is a relic of another New York. He knows the streets, understands people and can recognize an opportunity in a crowded subway car. But none of those abilities necessarily prepare him for the world he is now navigating.
His relatively simple life takes a dramatic turn when he steals from the wrong person. Or, more accurately, the type of person you really shouldn’t steal from.
What initially seems like another successful day at work quickly becomes a dangerous situation involving a stolen device, a criminal organization and people who have considerably more resources than Harry. Suddenly, the man who has spent his life taking things from others finds himself with very little control over what happens next.
The beauty of Turturro’s performance is that he never tries to turn Harry into some larger-than-life criminal mastermind. He’s an older man who knows what he’s good at, understands his limitations and is doing what he can to get through another day. There is a quiet desperation to his performance, but also a tremendous amount of humour and humanity.
Turturro is an actor who can communicate so much with a look or a subtle change in expression, and he makes use of those qualities throughout the film. Harry isn’t particularly interested in explaining himself, and Turturro doesn’t need lengthy monologues to help us understand what is going on inside his head. We see it in his interactions with Rosie, his conversations with Ben and the way he carries himself when things begin to fall apart.
There is also a wonderful supporting cast. Giancarlo Esposito brings his usual presence to the film as Detective Allan Warren, while Buscemi is a terrific fit as Ben. Buscemi and Turturro have a natural chemistry that makes their relationship feel lived-in. These are two men who have known each other for a long time, and their scenes together are among the film’s highlights. Will Price also makes an impression as Dylan, the young man whose stolen belongings set the story in motion.
There is so much to love about this movie. In some ways, it feels like a love letter to New York City. The cinematography from Sam Levy captures a side of New York that makes you want to spend an afternoon simply walking around and taking it all in. The neighbourhoods, the streets, the subway and the everyday rhythm of the city all contribute to the atmosphere.
I’m not suggesting that a movie about a pickpocket is enough to make someone book a trip to New York, but there is something wonderfully nostalgic about the way the city is presented. It makes you reminisce about taking a long walk through the neighbourhoods, hopping on the subway or simply enjoying the experience of being in one of the world’s great cities — just keep your head on a swivel.
The music is another highlight. Gary Lionelli’s score almost becomes its own character, giving the film a hip, unmistakably New York vibe. It complements the rhythm of the city and Harry’s movements without overwhelming the story. There is an old-school quality to the film that is particularly appealing, and the score helps establish that identity.
What I appreciated most about The Only Living Pickpocket in New York is that, beneath its crime-thriller premise, it is really a story about getting older and trying to find your place in a world that keeps changing. Harry has spent his entire life developing a particular skill, but what happens when that skill is no longer enough? What happens when the world you understand disappears around you? And what lengths are you willing to go to in order to protect the people who matter most?
These are interesting questions, and Segan finds a charming way to explore them without losing sight of the entertaining crime story at the centre of the film.
I adored this movie. It’s an entertaining, beautifully photographed New York crime story with a terrific central performance from an actor who deserves to be given more opportunities like this.
John Turturro reminds us that he is capable of carrying a film with tremendous charm, humour and emotional depth. I hope filmmakers take notice.
More leading roles for John Turturro, please.
Grade: A-
