New Grisham novel arrives in bookstores


Published: Tuesday, January 18, 2005 at 6:01 a.m.
Last Modified: Monday, January 17, 2005 at 10:12 p.m.
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Author John Grisham's new book ''The Broker'' returns to the formula that invigorated some of his most popular books, like ''The Firm'' and ''The Pelican Brief.''

The Associated Press

Facts

Big bucks at the box office ... or not?

Every Grisham novel is an instant best-seller, but over the years, many Grisham movies have been critical or box-office disappointments.

  • ''The Firm'' (1993) - Tom Cruise, Jeanne Tripplehorn; directed by Sydney Pollack. Grisham got off to a fast start in Hollywood when his first best-seller was cast with the movies' hottest star. It was a solid box-office hit.
  • ''The Pelican Brief'' (1993) - Julia Roberts, Denzel Washington; directed by Alan J. Pakula. It sounds like a good idea to put this story about an investigative reporter and a lawyer on the run in the hands of the director of ''All the President's Men,'' but the movie suffers by comparison even though Pakula spins out the suspense nicely.
  • ''The Client'' (1994) - Susan Sarandon, Tommy Lee Jones; directed by Joel Schumacher. Possibly the best of the Grisham movies, with hugely entertaining performances by Sarandon and Jones as opposing counsels.
  • ''A Time to Kill'' (1996) - Matthew McConaughey, Sandra Bullock; directed by Joel Schumacher. The movie that was supposed to make McConaughey a star, and for a time did - until people realized that he was a star only when he was surrounded by people who could act, like this film's amazing supporting cast. A well-made movie that, among Grisham films, was second only to ''The Firm'' as a box-office hit.
  • ''The Chamber'' (1996) - Chris O'Donnell, Gene Hackman; directed by James Foley. Thud! A sluggish downer about a young lawyer trying to save his racist grandfather from the gas chamber.
  • ''The Rainmaker'' (1997) - Matt Damon, Danny DeVito; directed by Francis Ford Coppola. A last hurrah for Grisham films: an involving courtroom drama, with Damon as a novice lawyer who partners up with the ambulance-chasing DeVito to take on the sharpie lawyer (Jon Voight) for a blood-sucking insurance company. Box office was only so-so.
  • ''The Gingerbread Man'' (1998) - Kenneth Branagh, Embeth Davidtz; directed by Robert Altman. Not based on a novel but on an original screenplay by Grisham, who declined credit after director Altman rewrote it. Spotty releasing doomed it at the box office.
  • ''A Painted House'' (2003) - Scott Glenn, Robert Sean Leonard; directed by Alfonso Arau. Five years passed before Grisham returned to the screen, and then it was to the small one. Nicely directed, well cast and entirely forgettable.
  • ''Runaway Jury'' (2003) - John Cusack, Gene Hackman; directed by Gary Fleder. Grisham's 1996 novel was snapped up by Hollywood but it spent years in the Hollywood limbo known as ''turnaround,'' where it was rewritten and recast several times. No big deal at the box office, either.
  • ''Mickey'' (2004) - Harry Connick Jr.; directed by Hugh Wilson. Grisham wrote the screenplay and produced this movie about a tax-cheating lawyer who wants to see his son in the Little League World Series, though the kid's a year too old for it. It may someday show up in a theater near you. Or not.
  • ''Christmas With the Kranks'' (2004) - Tim Allen, Jamie Lee Curtis; directed by Joe Roth. Grisham's comic novel ''Skipping Christmas'' was a big bestseller in 2002, but the title was changed for the movie version - maybe because a Ben Affleck turkey called ''Surviving Christmas'' opened a few weeks earlier. But there was no mention of him in the ads for the movie, a slapstick farce universally scorned by the critics.

  • The latest John Grisham novel is in bookstores, and the good news is that he's back to writing thrillers. In recent years we've seen airline passengers nodding out over "A Painted House" and "Bleachers," books they probably picked up in hopes of reading another one of Grisham's lawyers-on-the-run page-turners. Instead, they got nostalgic tales drawn from Grisham's childhood and youth.
    Longtime Grisham fans will be glad to know that in "The Broker" he's returned to the formula that invigorated some of his most popular books, like "The Firm," "The Pelican Brief" and "The Client." This is one of his David-and-Goliath fables - a little guy battling a powerful, deadly enemy.
    This time, the little guy is a former big shot: Joel Backman, once the wheeling-and-dealing-
    est lawyer in Washington. Backman's brilliant career came to a halt when he got involved with a scheme to peddle some spy-satellite technology to the highest bidder; several people wound up dead, and Backman wound up in prison. Now, after six years in solitary confinement, Backman is being offered a presidential pardon and relocation to Italy, where he'll take on a new identity.
    The catch is that the CIA is setting Backman up as a target. They want to see who wants him dead. The Russians? The Chinese? The Israelis? The Saudis? Once they know this, then they'll know who's really in control of the mysterious satellite.
    The spy-satellite stuff is what Alfred Hitchcock called a McGuffin - the thing that sets the plot in motion but you can forget about once it does. No one really cares or remembers exactly what it is that causes Cary Grant to be pursued by a crop-dusting plane and wind up hanging from Mount Rushmore in "North by Northwest." It was just a McGuffin. But "The Broker" is no "North by Northwest." It's more like "Torn Curtain," one of those formulaic and unconvincing movies Hitchcock made in his last years.
    The tension of the plot hinges on what we know that Backman doesn't - and on what he's going to do when he finally figures it out. To create tension, Grisham has to make us care what happens to Backman, and that's a large order, given that the guy was originally a workaholic, womanizing, amoral sleaze who has somehow - and the somehow is never presented to us clearly - turned into someone we want to root for.
    Characterization has never been Grisham's forte, and it still isn't. The only way to give most of his characters substance is to find somebody to play them in your imagination. In this case, Backman is a role for a 50-something stalwart who can play attractive damaged goods - Richard Gere or Jeff Bridges, perhaps. Once you've got the novel cast, you can proceed.
    But the most serious flaw is that Grisham never makes us believe that any of the novel is taking place in the real world. In his best books, Grisham's heroes battled some convincingly hissable bad guys: racists, polluters, insurance companies, the tobacco industry. These were villains about whom he and the reader could have strong feelings; they were real to us.
    But the villains of "The Broker" are shadowy spies and international assassins; they come from a world that Grisham obviously doesn't know firsthand, and consequently they radiate little menace.
    Moreover, the novel takes place in some alternate universe in which the Sept. 11 attacks apparently didn't happen, in which al-Qaeda and global terrorism are not a threat. It's a world with easily crossed borders and no Homeland Security alerts, where you can readily buy an unhackable, safely encrypted telecommunications system off the shelf. The world of "The Broker" seems sadly irrelevant to our own.
    Despite that serious flaw, Grisham can be an engaging writer. Once you've started the book you're not likely to give it up - he still has the knack of creating suspense, and you don't feel too bummed out when the payoff is feeble.
    He can also be very funny. The opening chapter presents us with an American president so inept and unpopular that in his re-election bid he lost every state except Alaska, the only state he didn't visit during the campaign - and he won it by a 17-vote margin after a recount. President Morgan and his dysfunctional first family were so entertaining that I almost hoped the novel was going to be about them.

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