Confess, Fletch Gets Jon Hamm’s Appeal Like Nothing Has Since Mad Men

Photo: Robert Clark / Miramax

spoilers follow Confess, Fletch.

Jon Hamm’s performance in Confess, Fletch There’s a knowing wink at everyone who loves him as Don Draper, remembers him as Don Draper, and wonders why his career is post-crazy man Not as layered as the work he did as Don Draper. The series is one of the few roles he has played since late 2015 that fully embodies the layers of his appeal.

after the recent Serviceable-but-forgettable police-imminent diversion (Top Gun: Maverick, Richard Jewell, Report), ham slips into sarcasm and self-deprecation In this adaptation of Gregory MacDonald’s novel about a former investigative reporter (“something iconic,” he says more than once) who makes his way into detective work. goofy physical comedy he also briefly displayed 30 Rock, unbreakable kimmy schmidt, and that moment he awkwardly hoisted himself on stage to accept his lead actor in a drama series Emmy Shine. He draws exaggerated faces, bounces between giggles and dryly confused line deliveries, and attempts to maneuver his way through a dancing crowd by cutting at half speed. But as Fletch, Haim also invokes the whole series that he revealed throughout crazy man And also acknowledges his Don Draper persona, insisting against it.

In director Greg Mottola’s adaptation (available in theaters and for digital rental), Fletch is a bit of a womanizer, a bit self-destructive, a bit of an asshole, and an amusing outsider—qualities that are Haim’s Draper. have shared. Through seven seasons of the AMC series, Haim perfected Edman as a sympathetic but unremarkable villain whose narcissism, melancholy, and fierceness often meant that he hurt the people he cared about most. By comparison, Haim plays Fletch like a fun-at-home-mirror version of Don: the two are strikingly similar in broad strokes due to Fletch’s sensual, wobbly, self-satisfying qualities. But the actor’s desire to directly send an air of Draper’s dapper authoritarianism makes Fletch goofy and, well, hammer And the easy choice of this fascinating film is the key.

Photo: Robert Clark / Miramax

Confess, Fletch Haim as the accused and follows the previous two big-screen McDonald’s adaptations of 1985, starring Chevy Chase Fletch and 1989 Fletch Lives, In present-day Boston, Fletch returns home from two years working in Europe, discovering a dead woman in the house his new girlfriend, an Italian heiress, has hired for him. Fletch claims he doesn’t know who he is, but local police detective Monroe (Roy Wood Jr.) and his apprentice Grizz (Aiden Myrie) consider the case open and closed and start Fletch’s tail. While Fletch escapes from them, he also conducts two investigations of his own, making Haim practically omnipresent; Nothing happens in this horror comedy without Fletch raising a mischievous eyebrow.

This gives Haim enough screen time to switch from comedy to sexiness to drama and back again. When Fletch Says “My Italian Is Very Good” After Using The Word Urine when he wanted to say pool, is an echo of Draper’s faux certainty when delivering that boxing-themed Samsonite pitch. When he interviews an influential person (“Don’t you hate people who are too poor to afford beauty? Worst”), he performs a prolonged eye roll and full body twitch. Is. When calling his girlfriend from prison, he slips in a shriek: “What are not What are you wearing?” And when Monroe wonders aloud who people hate more, cops or journalists, Haim takes an angry snarl in response to Fletch: “It’s the police.” In the hands—say, a Ryan Reynolds—there may be an irritatingly self-satisfying quality in these moments. But Haim plays them with such a vulnerable, shrinking energy that he finds a place in a transactional relationship for his fellow cast members. Which makes the film feel like a true ensemble cast.

Fletch’s belligerent relationship with Monroe and Gries allows shades of Don’s demanding, condescending dynamic with Sterling Cooper Draper Price’s subordinates. “Shut up and talk,” an agitated Monroe orders, to which Fletch replies, “it’s a very confusing combination of commands.” He sparks well against the disaffected Contessa of Marcia Gay Harden, who denies his potential son-in-law by pronouncing his name “meat” and casually remarking on his “big cock”. (That latter line feels specifically engineered to strike at telling Haim Rolling stone In 2013 he wished people “quit” talking about the approximate size of his genitalia.) And in the scenes of John Slattery, playing Fletch’s former editor, who certainly can tolerate his new millennium coworkers. Can’t (“They’re so respectable. I can’t tell you how much I hate this place”), the pair fall back into the exact same cheeky brotherhood they respected as Roger and Don. The two eventually go to a bar to complain about life. What is more suitable for them?

crazy man gave Haim many opportunities to rediscover himself, and Confess, Fletch achieves a similar feat with a role that highlights Haim’s best qualities: He can summon prickly tension in a jiffy, the comical humor he uses to offset his classic beauty, can move between graceful manner and charm. In the past, Haim’s roles have demanded a few of these traits at a time – bridesmaidsnefarious fbi agent bad times in el royalehappily in crooked scoundrel baby driver — but they rarely converge, allowing Hamm to play the protagonist. If Confess, Fletch Was there a marketing effort behind it, the character may suggest a way forward for Hamm as a way to showcase his multifaceted dynamism.

Imagine Haim’s Fletch at the center of the franchise like a British TV series: two to four episodes in a season where Haim can do his entire Colombo-meets-Cluseau thing with a rotating array crazy man Cast members as guest stars. Wouldn’t any streaming service give us this? What else is AMC+ doing? In the film’s final act, Fletch helps capture the killer at a country club (and before an open ending that could easily lead to) Fletch’s fate), observes Monroe, “only you could be stuck in a space like this and just be able to blend in.” He can also talk to Haim, who delves into the film and uses his past as Don Draper to make a case for Fletch’s future. It’s too bad that our chances of seeing it are disappearing as fast as Dawn’s footprints in the Hawaiian sands.

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