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Maybe because he has the looks of a flawless hero, Paul Newman regularly runs over received ideas about image, perhaps in one of the racing cars he so loves to drive. Newman is at the very least unusual (and unusually talented) in an industry where film stars are so obsessed about the way they are perceived by the public that they lose sleep over picking the right roles and the right hair. Newman is at least as interesting an actor now as he was when riding high for the first time. Unable to help his piercing blue eyes and firm jaw, he immerses himself to great effect in unstarry roles, like the slippery corporate villain in "The Hudsucker Proxy" and the ageing, irresponsible drifter in "Nobody's Fool".
He is, then, the real reason to see "Where the Money Is", a character-based heist caper in which Henry (Newman), an extremely accomplished bank-robber, cons his way out of prison and into a hospital (to declare how would spoil a neat plot point), where a bright, but restless, nurse (Linda Fiorentino) coaxes him towards one last crime. Their aim is to rob all the deposits taken on a single night's security van round.
The script is packed with enjoyable moments but some of them are just too cute or contrived simply because the writers - caught up enthusiastically in a good yarn - occasionally become careless. Yet the story has life surging through it, and much of this is down to Newman who often amusingly interprets Henry as an unusual mixture of keenness and old age. Even when he is sitting in a wheelchair, head hung low and eyes closed, he has a fire within him which even decent actors like Fiorentino (good here as the epitome of frustration) just don't possess.
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