, who has often brought a real-world edge to his dramas , and the figure at the film’s center could be a true-life character out of Morris land — one of those rational-on-the-surface, only-in-America compartmentalized crackpot geeks whose hidden dark depths just about scream, “Look out, I‘m a walking nonfiction metaphor!”
In “2nd Chance,” Davis, now in his mid-70s, with a youthful nerdish jocularity, is interviewed on a small worn leather couch, seated in front of wood paneling in what looks like a rather depressing rec room, his hands clasped as he speaks in his friendly yet detached overemphatic style. It’s very much a bug-pinned-by-the-camera Errol Morris setup; the movie lets you feel like you can study Davis.
Before Davis came along, there were bulletproof vests, but they were bulky and heavy — flak jackets you couldn’t conceal. Davis saw the need to create a thin, light vest that could be worn invisibly and that was comfortable enough to be used on a daily basis. For a while, he owned the landscape .
But the ultimate deception in Richard Davis’ life was one of the spirit — a mingling of compassion and cruelty. He kept a record, in the form of a mimeographed newsletter, of every police officer his vests had saved. Doing this was part of his business , but it was also a way of playing God.
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