Director/Coscreenwriter: Rob Thomas
By Marilyn Ferdinand
From 2004 through 2007, “We Used to Be Friends,” the dreamy, edgy song performed by the Dandy Warhols, opened “Veronica Mars,” a television series that created such a loyal following that it survived low ratings to last three seasons and encouraged more than 91,500 people to contribute to a Kickstarter campaign so successful that we now have a movie based on the series. What was it about this series that had people of all ages and backgrounds—including me—glued to the tube each week?
The series, which featured Kristen Bell as the title teenage gumshoe, was much more than the updated Nancy Drew or straight-playing “Twin Peaks” it seemed to be. Its essence was noir, with corruption at the heart of its original through-story of Veronica’s investigation into the murder of her best friend, Lilly Kane (Amanda Seyfried), in the fictional town of Neptune, California, a playground for the rich and famous with a soft underbelly reminiscent of the Los Angeles of Chinatown (1974). Veronica, daughter of ex-sheriff and current P.I. Keith Mars (Enrico Colantoni), ran in the rarefied circles of Neptune’s power elite, but remained a resolute outsider by dint of her lowly financial status and exposure to the ruinous power of wealth and influence as exemplified by the campaign of the 1% to run her dad out of office for daring to come after one of their own. Many fans of the series believe, in the words of the Film Noir Foundation, that “it’s a bitter little world,” and despite the futility, it still felt good to see our wry, savvy antiheroine act like Sam Spade: “When a (girl’s best friend) is killed, (s)he’s supposed to do something about it.” We thrilled, too, that like Spade, she fell like a ton of bricks for the wrong person—troubled rich kid Logan Echolls (Jason Dohring)—possessive, violently protective, and oh so sexy.
When the series ended, it seemed like Veronica had put her demons behind her and followed her father’s advice to get out of the cesspool of Neptune and make a normal life for herself. The movie picks up at the point where Veronica, a recent law school graduate, is interviewing for a job at a top New York law firm and living with Stosh “Piz” Piznarski (Chris Lowell), her kind-of boyfriend during her undergraduate days at Hearst College. A high-profile murder in Neptune grabs her attention—pop singer Bonnie DeVille (Andrea Estella), nee Carrie Bishop of Neptune, Logan’s girlfriend, is found electrocuted in her bathtub, and Logan stands accused of murdering her. One text from Logan that he needs her has Veronica on the first plane out, assuring understanding Piz that she will be there only a couple of days to help him choose a defense attorney.
Logan, now an officer in the U.S. Navy, greets Veronica at the airport wearing his dress whites. She is dazzled and says, “You should always wear that,” but as they say, love is blind—the uniform fits him like a laundry bag and makes him look like the prototypical pencil-necked geek. How he managed to maintain a relationship with a junkie pop star while in the Navy is beyond me, but thankfully, he wears civvies for the rest of the film and seems to have been able to make bail—he is filthy rich, after all. This series’ version of the “Buffy the Vampire Slayer” Scooby gang—computer geek Mac (Tina Majorino), gofer/buddy Wallace (Percy Daggs III), and Latino tough Weevil (Francis Capra)—have all grown up into responsible adult positions, with Mac making a very nice living in IT, Wallace a school teacher at their former high school, and Weevil a married man and doting father.
Veronica Mars is a solid, if unremarkable film whose hole-filled scenario is, as Rod pointed out about the plot of another noir, The Big Sleep (1946), rather beside the point. What fans of the series and viewers of the film will most enjoy is a chance to visit with or revisit some beloved characters indelibly created by the prodigious talent of the actors who played them, their acting chops better than ever, and especially the incredible chemistry between Bell and Dohring and the close relationship Veronica has with her father.
Veronica gets drawn back into her former life and her former love, reflecting in the noirish voiceover narration that peppers the film that she is an addict of sorts of both. But then, the script doesn’t make Veronica’s law career seem very exciting. When she interviews with attorney Gayle Buckley (Jamie Lee Curtis), she is told that the firm tries to keep its corporate clients out of court as much as possible—so, in fact, if Veronica takes the job, she will be spending her days literally settling. Once she’s caught up in the adrenaline rush of the investigation to exonerate Logan, she knows that all she really wants to do is get people—the bad guys—into court. Working as she did in high school, investigating her classmates who may have graduated from smaller stuff like test rigging and cyberbullying to actual murder while her father investigates even more grown-up stuff like systemic corruption in the police department, is just like old times.
Yet Veronica’s quest for a safe and normal life seems to have changed her, made her more vulnerable. While still verbally quick, she has slowed down a bit, preferring direct actions like punching a bitchy former classmate to cutting her with her rapier wit—then again, this scene plays like a rip-off of the Indiana Jones and the Arab swordsman scene. A more genuine moment shows Veronica hiding from a killer, panting with terror and thinking as fast as she can for a way to save herself while obviously flailing at the unexpectedness of her plight. The scene is beautifully choreographed and builds tension that the film sustains to the end. The film is also ably aided by its moody look and a soundtrack as edgy and dreamy as its theme song.
One change from the TV series to the movie is Veronica’s heavy use of her smartphone. I thought this was natural for someone well versed in the use of surveillance equipment and an early adopter of new technology, and yet, Veronica seemed to be the only person glued to the screen in her hand. She happens to appear in Neptune the weekend of her 10th high school reunion and is dragged there by the Scoobys. As if by some time-travel miracle, virtually no one was checking their phone every few minutes or texting someone. A crucial plot twist shows a similar stupidity about the power in everyone’s hands these days, though we could possibly blame drugs and alcohol for this particular lapse. Similarly, the Neptune police seem not to have given much thought to the audio/video capabilities of cellphones and are repeatedly recorded doing things they oughtn’t, including unprovoked violence against some defenseless teens. Viewing this film on the heels of seeing the footage from Ferguson, Mo., was a truly eerie experience.
Still, the main event is Veronica and Logan. Their mutual attraction burns a hole through every scene they share, though Logan keeps a gentlemanly distance, even when he is blindsided and momentarily made jealous by Piz’s appearance at the reunion. A flash of his old protectiveness goes overboard when the reunion committee decides to humiliate Veronica by projecting an old sex tape of her. His rage precipitates the equivalent of a barroom brawl from a creaky Western, a truly shoddy piece of comedy that undercuts the Veronica Mars vibe. While this display from Logan would have sent the Veronica of old packing, the more vulnerable version may actually feel the need for a man who can mix it up, and when he saves her father from an attempt on his life, he becomes plainly irresistible. I have read some criticism of this relationship that it supposedly reinforces the idea that women are looking for sexy bad boys when they should be attracted to nice guys. Of course, it’s ridiculous and futile to tell hearts and genitals what they should want, but in fact, Veronica is a bad girl and thus a perfect match for Logan.
Most fans of the series are crazy about Weevil, and I was disappointed that this complex character had so little to do and ended the film on a note that seemed all wrong. Daggs, also a fan favorite, is just as good in the movie, but again, has little to do. Colantoni is a veteran actor whose presence is felt in any project in which he appears. In Veronica Mars, he is every bit the sympathetic dad and quietly persistent private eye he was in the series, and he and Bell continue as one of the best fictional father/daughter duos anywhere; his joy at being surprised by Veronica’s sudden appearance at his office is a delightful and truthful moment. While Bell has maintained an active career on television, neither she nor the inexplicably lesser-seen Dohring has ever made the impact they did with “Veronica Mars.”
In the end, this pastiche of filmic styles takes it final cue from Casablanca (1942). In their version of “We’ll always have Paris,” Logan and Veronica repeat some words from the series:
I thought our story was epic, you know, you and me. Spanning years and continents. Lives ruined, bloodshed. EPIC.
As Logan heads back to the Navy, Veronica goes back to being a gumshoe, apparently with the Scoobys back by her side fighting the bad guys, as though listening to the words of Victor Laszlo: “Welcome back to the fight. This time I know our side will win.”