Andy Garcia's 'Diamond' is a low-key, charming take on film noir, set in contemporary Los Angeles but with a 1940s aesthetic. The film follows Joe Diamond, a private detective who lives in the past, refusing to conform to modern life. Despite his eccentricities, Diamond is a skilled detective, famous for solving the 'Flamingo Case' and maintaining a decent relationship with the LAPD. The plot revolves around his attempt to exonerate a woman accused of murdering her husband, leading him to uncover a more complex mystery.
The film's first half is an amiable, if somewhat dull, riff on noir, with Garcia's perfect portrayal of the old-school private eye. However, the real strength of 'Diamond' lies in its last third, where a twist is revealed that adds depth to the detective's character. It becomes clear that Diamond may not be mentally well, with his constant weeping in his sleep and dreams of trains. This twist grounds the fantasy world he inhabits and makes the film more engaging.
The supporting cast, including Bill Murray, Dustin Hoffman, and Danny Huston, adds to the film's charm, bringing levity and depth to their roles. The jazz-heavy score, composed by Garcia himself, further enhances the film's atmosphere. While the film has its rough edges and some missing scenes, the denouement makes it worth watching, especially for fans of Garcia, who doesn't get enough substantial roles.
In my opinion, 'Diamond' is a minor neo-noir, but it stands out among the recent glut of actor-helmed neo-noirs. It offers a unique take on the genre, blending old-school aesthetics with a modern setting. The film's exploration of the detective's mental state adds a layer of complexity, making it a fascinating watch. While it may not be a masterpiece, it is a charming and engaging addition to the neo-noir genre.
