BlazeLime Strong and Moving!

Chirphymium It's entirely possible that sending the audience out feeling lousy was intentional

Salubfoto It's an amazing and heartbreaking story.

Aiden Melton The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

dougdoepke Compelling all the way through and based on a true story. Tom (Caan) wants his kids back after the Feds have taken them as part of a witness relocation program. Seems his ex-wife Ruthie (Rae) has hooked up with a minor gangster Jack (Viharo) who's testified against gang bosses. As part of his deal with the Feds, Jack's married Ruthie and they and her two kids by Tom are secretly spirited away to a new life. Trouble is no one, least of all the Feds, bothered telling Tom whose paternal interests have been totally ignored. A working stiff, Tom tries respectfully to work through the government bureaucracy to establish some kind of paternal rights for access to his kids. Nonetheless, his access could lead the gang to stoolie Jack's whereabouts, resulting in a central conflict of interests.Clearly, there's a subtext to the storyline. Set in 1967, the narrative generally shows how uncaring Feds are about an average working guy's rights. Much of the proceedings are taken up with Tom being brushed off by ascending levels of government even up to his congressman. For Tom, it's ironic that the establishment he supports as an anti-hippie blue-collar conservative would treat him so cavalierly. In a sense, the movie suggests reasons for working class guys to despise government as much as do the anti-war hippies of the time. In effect, the governing agencies come across as basically uncaring about the broader consequences of their acts, seemingly either in Vietnam or Buffalo, NY. That's why Tom angrily identifies himself to a Fed as "Nobody" at movie's end. He's had an odd learning experience, but a learning experience it is. Perhaps I exaggerate some, but the subtextual core is definitely present in this adaptation of a real life event.Anyway, Caan delivers an ace performance as Tom. Note how his lines are delivered in rather groping and not very articulate fashion, befitting a guy more skilled with his hands than his tongue. Thus, Caan manages a convincing role without special pleading. The rest of the rather large cast also performs ably, especially rotund McMillan as a street-wise cop and Viharo as the callous stoolie. But, as much as I wanted to hug her, I'm afraid Eikenberry is a shade too sweet and understanding as Tom's new girl friend.On the whole, the movie comes across as very skillfully done, with a thought provoking storyline, and results that are generally underrated. So don't pass it up.

Scott LeBrun Actor James Caan made his directorial debut (and, to date, only directorial effort) with this compelling, believable adaptation of a true story. Caan stars as Thomas Hacklin, Jr., a regular-Joe working man (at a tire factory). His ex-wife Ruthie (Barbra Rae) is now involved with Jack Scolese (Robert Viharo), a Mafia goon who squeals on his associates after an arrest. As a result, Jack ends up going into the Witness Relocation Program - and he takes Ruthie and Thomas's two kids with him. An understandably angry and distraught Thomas tries to track down his family, while doing battle with a rather uncaring government.There's something inherently appealing about seeing this blue collar guy struggle to overcome the immense amount of red tape facing him. Caan is excellent in the lead; he's low key and convincing, and on those few occasions when the character gives in to anger, you can hardly blame him. The film also strongly benefits from its location shooting (it takes place in Buffalo, NY in 1967) and local atmosphere. Caans' storytelling is efficient and to the point. There's no filler here, with "Hide in Plain Sight" clocking in at a refreshingly succinct 92 minute run time. The widescreen photography is first rate.The cast is stacked with familiar faces. Jill Eikenberry is immensely appealing as Alisa, the new lady in Thomas's life. The under-rated Joe Grifasi is likewise engaging as his good buddy Matty Stanek. And get a load of this assortment of supporting and character actors: Kenneth McMillan, Josef Sommer, Danny Aiello, David Clennon, Peter Maloney, David Margulies, Leonardo Cimino, Tom Signorelli, Charles Hallahan, Alice Drummond, and Beatrice Winde.While watching this, one may rightly wish Caan had tried directing more often during his career. He clearly had a knack for it.Eight out of 10.

gareth-g One of the great unsung directing debut's from a versatile character actor with stat status. I remember the mid to late 70's cinema scene with fondness and the prospect of James Caan directing as well as starring in a character-driven piece was like manna from heaven to me. Living in the UK I never got to see this release in the cinema (despite excellent coverage in UK's Films and Filming magazine), but I caught up on it during the 80's video revolution (in an un-hired ex-rental video). Unfortunately the video was panned and scanned to 4:3 thus diminishing the composition and I had to wait until the late 90's to catch this excellent drama on TCM where it was regularly screened in it's correct aspect ratio. Since purchasing a DVD recorder last year this title has not popped up on UKTV so I wait with baited breath for the return of "Hide In Plain Sight" to the TV screens.....hey! maybe someone will lobby for a DVD release because you've got to admit it's far superior the 95% of the dross that gets released every week of the year!

Poseidon-3 Based on a true story, working class father Caan is stunned to find that his two children from a previous marriage have been swallowed up by the witness protection program, leaving him with no avenue to see them or contact them. Caan, a veteran and an employee at a Buffalo, NY rubber factory, enjoys spending time with his young son and daughter until their mother (Rae) becomes involved with a hood who has ties to the mob. When the hood (Viharo) informs on a dozen of his former mob cronies, he is assigned a new name, new job and new geographic location, taking Rae and the children with him. Caan, who has just begun a new relationship with rather prim and sensitive schoolteacher Eikenberry, exhausts every method he can think of to locate and become reunited with his children, encountering governmental opposition and red tape at every turn. Caan, who also directed this film, gives a very low-key, but effective performance. He is never tempted to overplay his heartache, anger or frustration and refrains from overindulgence, though occasionally he threatens to (or does!) lose his cool. He presents an amiable, though lower-class, character but doesn't play up things like a thick accent or excessively brutish qualities. Eikenberry is a serene, endearing presence who understandably wears down during Caan's endless quest, but shows quiet strength and support when it's needed. Many familiar TV and movie faces people the supporting cast. Grifasi, as Cann's co-worker and friend, gets a rare chance to play a regular guy in contrast top the many quirky or comedic roles he's enacted. Aiello is good as a lawyer who agrees to take on Caan's case. Clennon, who would later make a splash on "Thirtysomething" appears as a snotty attorney who draws Caan's ire. The film benefits greatly from authentic location work and an overriding sense of realism. The acting is decent throughout. Where it falters some is in its period detail. The story is set in 1967 but, aside from some bouffant hair and period cars, there is precious little to suggest that this isn't the mid to late 70's. The primary difference is in the make-up. Women (especially like Rae's somewhat tawdry character) wore far heavier eye make-up, including false eyelashes. Eikenberry, in particular, rarely looks like someone from 1967. Another quibble is the apparent time-line. The true story played out over 8 years, which is a far more agonizing ordeal to live through than the approximately one year span shown here. Still, it's a thoughtful, realistic drama concerning a subject that hasn't gotten a lot of coverage in the cinema. To date, Caan has not again stepped behind the camera to direct.