Director Darren Aronofsky’s latest film, Caught Stealing, offers a vibrant exploration of New York City’s Lower East Side through the lens of a madcap crime comedy. The film, adapted from Charlie Huston’s novel, stars Matt Smith as Russ, a punky character who brings a unique flair to the gritty streets of 1998 New York.
Smith, known for his diverse roles, took on a new challenge by sporting a mohawk for the film. “I liked it more than I thought I would,” he admits, describing the unconventional hairstyle as “yellow and green,” a look he surprisingly found “kind of cool.” Born in 1982, Smith grew up in the aftermath of Britain’s punk explosion and relished the opportunity to embody the punk attitude, which he describes as “quite a healthy attitude in life.”
Recreating a Bygone Era
Caught Stealing is set in a part of New York City that Aronofsky knows intimately. “I walked down Avenue A hundreds of times, if not thousands of times, in the ’90s,” he recalls. The film captures the chaos and multicultural diversity of the East Village, a neighborhood Aronofsky describes as “the most electric, most creative, most fun place in the world.”
The story follows Henry “Hank” Thompson, played by Austin Butler, a former baseball prodigy turned bartender. His life takes a chaotic turn when he’s asked to care for a friend’s cat, leading to encounters with Ukrainian gangsters, a Puerto Rican drug dealer, and a pair of Orthodox Jewish gangster brothers, among others. The film’s eclectic cast includes Zoe Kravitz, Regina King, Liev Schreiber, and Vincent D’Onofrio, each adding to the film’s dynamic energy.
Aronofsky’s Cinematic Shift
Known for cerebral films like Requiem For a Dream and Black Swan, Aronofsky’s decision to direct a fast-paced crime comedy marks a significant departure. “It’s more like, what’s ahead of me, and what do I want to make,” he explains. The kinetic energy of Huston’s story appealed to him, as did the opportunity to create a film that prioritizes entertainment.
“I’m always looking in today’s crazy, fast-paced world for something that will distract me and entertain me really well for a couple of hours,” Aronofsky says. “I was like, ‘why can’t I do something like that?’”
This shift in focus is evident in the film’s comedic and commercial appeal, drawing comparisons to Martin Scorsese’s After Hours. Although Aronofsky insists any nod to Scorsese’s work is coincidental, the film’s blend of humor and chaos certainly resonates with audiences seeking escapism.
The Heart of New York City
Beyond its narrative, Caught Stealing serves as a love letter to New York City. Aronofsky, a Brooklyn native, captures the city’s essence, highlighting its multicultural vibrancy. “You go onto a subway during rush hour and there are people from every corner of the planet,” he notes, emphasizing the city’s unique ability to bring diverse cultures together.
As the film concludes, the potential for more stories from Hank’s world remains open. “The market will decide,” Aronofsky says, hinting at the possibility of future adaptations of Huston’s novels.
With Caught Stealing, Aronofsky successfully combines his artistic vision with mainstream appeal, crafting a film that is as entertaining as it is reflective of the city’s enduring spirit.
