Synopsis: Two Chicago firefighter brothers who don’t get along have to work together while a dangerous arsonist is on the loose.
Stars: Kurt Russell, William Baldwin, Robert De Niro, Jennifer Jason Leigh, Scott Glenn, Rebecca De Mornay, Donald Sutherland
Director: Ron Howard
Running Length: 137 minutes
TMMM Score: (6/10)
Review: Backdraft was one of those films that I responded to fairly well when I first saw it at a second-run theater in the summer of 1991. Already familiar with the work of director Ron Howard (Parenthood) and as the proud grandson of a firefighter, I remember liking the drama created between two firefighting brothers and enjoying a secondary storyline involving an arsonist that seems to know a thing or two about setting buildings ablaze.
Viewed nearly 22 years later (!),this film which once seemed epic to me now feels a little too soap opera-y, a feeling aided by the fact that it’s filled with some off-the-mark performances. Don’t get me wrong, Howard stages some still impressive eye-popping sequences involving fire up close and personal but seen now there’s a curious lack of restraint that made the movie feel longer than it was.
Russell and Baldwin aren’t totally believable as brothers but they find some cohesion in their macho roughness that helps color the film We’re told that Baldwin has flitted around a lot, much to the disapproval of his older brother who has followed their father’s career path and has become a respected fireman. When the younger brother gets into the family business and is assigned to the same station as his elder sibling there’s some old wounds that re-open…especially when deadly fires start being set that Russell’s character may be involved with.
This being a Ron Howard movie, there’s a lot going on at all times and the large supporting cast of familiar character actors pop up here and there and are generally put to good use. Sutherland (Ordinary People) has two short scenes as a jailed arsonist but makes the most of his onscreen time. De Niro (Silver Linings Playbook) and De Mornay (Mother’s Day) make the most impressive impact in their roles…the most fleshed out in Gregory Widen’s slight script. While I appreciate Leigh for some of her more out of the box performances her work here is embarrassingly poor…
If the film has lost some heat over the last two decades, it’s only the fault of some changes in taste. There was a time when these type of emotion-driven, large-scale films played quite well and there’s still value to be found in the film thanks to some strong performances (I forgot to mention that Russell is particularly good here) and Howard’s trademark immersive production design. If the script could have been elevated a bit and some recasting done we may have had a film that weathered the furnace of time.