The film begins with an unsatisfactory rendezvous between a prostitute (Vera Farmiga) and a brutish carpenter named Eddie (Domenick Lombardozzi) who is unable to perform. It then follows Eddie to the Manhattan apartment of Ellen (Jill Hennessy) a wealthy but neglected client who wants to sleep with him because she thinks her husband is cheating on her. Later that night Ellen tells her husband Robert (Malcolm Gets) "I want to sleep with other men." He answers "So do I." The story then switches its focus to Robert and the object of his desire an artist named Martin (Steve Buscemi). Martin rebukes Robert's advances at first but ultimately gives in. Then Martin becomes the pursuer when he makes advances on a beautiful art gallery receptionist Anna (Rosario Dawson) who eventually sleeps with him. She confesses the infidelity to her boyfriend (Adrian Grenier) who then turns to an older woman Joey (Carol Kane) for comfort until she frightens him off with her desperation. Alone Joey finds herself giving comfort in the form of phone sex to a suicidal Wall Street embezzler named Will (Michael Imperioli). Will then ends the night with the prostitute from the opening scene.
A film like this must be a dream scenario for actors--an ensemble piece that allows each player to be the main character for a short amount of screen time. With the possible exception of the unfortunately miscast Steve Buscemi who seems overly awkward in his love scenes with both sexes the diverse ensemble of actors assembled here are clearly up to the challenge. The nine principals are meant to represent a mixed bag of races ages classes and disciplines ranging from stage to television to independent film and the anecdotal structure gives each of them a chance to shine. Some shine a little brighter than others however. Dawson Grenier Kane and Imperioli in particular stand out in their respective roles during the latter half of the film. This is not to say that the rest are lacking. It's just that there is only so much that can be done with the material which is sluggish at times and laden with heavy dialogue that can be difficult to deliver believably. As a whole the talented cast does the best they can with what they are given.
When writer/director Peter Mattei set out to depict the vapid and money-obsessed world of the 1990's he looked to Arthur Schnitzler's classic stage play Reigen for stylistic inspiration. The play follows one character after another in a series of overlapping vignettes in which each character seeks out some sort of sexual conquest. Mattei emulates that structure in Love in the Time of Money but never manages to escape the play's theatrical roots. The film relies heavily on dialogue with little intriguing visual imagery that couldn't be done on stage. Although the digital video format is well suited to the material Mattei fails to take full advantage of the rich New York background favoring nondescript streets anonymous alleyways and common restaurants that could exist in any city. Another limitation of the multiplot design is the inability to get more than a cursory glance at any one of the nine characters. There is scarcely enough time in each story to introduce them let alone fully explore what makes them tick before the film moves on to the next person. All that is presented are the broad strokes of their desires and actions without any depth or background to give them context. It's a noble experiment but one that ultimately fails to be compelling.
Based on actual events The Believer tells the story of young "Jewish Nazi" Danny Belint once a promising Yeshiva student from Queens. But now disillusioned by Judaism he is an active member of an anti-Semitic band of hoodlums who terrorize Jews and plan attacks against them. He also frequents meetings with self-styled fascist intellectual Curtis Zampf and his wealthy dragon lady companion Lina Moebius. Danny's effete father and sister are clueless about his anti-Semitic activities. And his fellow skinheads with whom he schemes and trains at retreats are unaware of his Jewish background. In conversations with several concentration-camp survivors as part of a sensitivity-training session ordered by a judge after Danny and his gang are hauled in for violence Danny provides clues for his twisted hatred when he blames Jewish passivity and fear for the tragedy of the Holocaust. But Danny's cover is soon shaken when a journalist who has learned that Danny is Jewish presses him for more information. After violent incidents involving synagogue damage and an assassination attempt Danny's life takes a sharp and fatal turn when his lover Carla Lina's daughter triggers in Danny a renewed passion for Judaism and its rituals.
Ryan Gosling's turn as young neo-Nazi Danny is worth more than the price of admission. He delivers a stunning career-making performance that is as disturbing as it is believable. Gosling who has moved on to studio features since his Believer role two years ago gets terrific support from the other actors including Summer Phoenix as beautiful lover Carla Theresa Russell as Carla's fanatical mother Lina and Billy Zane as Lina's sinister companion Curtis.
As brave as he is skilled writer/director Henry Bean does a superb job of conveying the chilling atmosphere and psychological confusion that can turn profound hatred into acts of violence. He also deserves credit for fashioning a convincing script rife with the intellectual questions and issues that can give rise to hatred. Bean's real coup was giving Gosling the guidance and space to deliver so extraordinary a performance. Bean's eye and ear for the authentic are apparent everywhere with both the decent folk and the hateful bigots soaring far beyond cliche or caricature.