Friday, BBC1, 10:40pm
The Outfit (2022) is a tightly wound crime thriller with a refreshing twist – it’s all about tailoring. Mark Rylance plays Leonard Burling, a quiet, unassuming British tailor (sorry, “cutter,” as he likes to remind us) based in 1950s Chicago, who inadvertently gets caught in the deadly dealings of the local mob. The entire film unfolds in Leonard’s shop, making for a claustrophobic, stage-like atmosphere where every stitch of dialogue and every thread of tension is carefully measured. The film is a slow-burner, yet it delivers a perfectly cut suspense with a few sharp surprises along the way.
The score, composed by Alexandre Desplat, is a finely tailored masterpiece itself – no surprise, given Desplat's knack for elevating atmosphere. Known for his work on The Grand Budapest Hotel and The Shape of Water, Desplat brings his characteristic finesse to this intimate setting. His score here is understated, much like Leonard’s character, weaving subtle, elegant themes that enhance the growing tension. Desplat balances sparse piano melodies with muted strings, never overwhelming the viewer but constantly keeping the pulse of danger in the background, like a hidden blade in a jacket. The music is less about grandeur and more about creating a mood – that feeling of something always simmering beneath the surface.
For soundtrack collectors, The Outfit’s score might not leap out as an essential acquisition, but it’s one of those hidden gems for those who appreciate minimalistic scoring. Desplat’s restrained compositions make the perfect companion for a quiet evening – preferably one where you're sewing buttons back onto a trench coat while avoiding the mob. If nothing else, the film and its soundtrack serve as a reminder that sometimes the quiet ones – be they tailors or composers – are the ones to watch out for.
Paul Allen