"Catch Me If You Can" opens with clever footage of Leonardo DiCaprio as con man extraordinaire Frank Abagnale, Jr., inserted into the actual episode of "To Tell the Truth" that featured the real Abagnale. Then, in flashback, and occasionally flash-forward, we are told the rest of the story.
The bulk of the film details how Frank begins his life of crime; masquerading as airline pilots, doctors, lawyers, high-rollers. On his trail, the Lieutenant Gerard to his Richard Kimble, is dogged FBI agent Carl Hanratty (Tom Hanks). It's clear that Hanratty hasn't much of a life outside of his work, other than a tenuous marriage. Frank begins to connect with the agent, calling him each and every Christmas Eve, almost hoping to be caught as his web of lies continues to spiral ever-outward.
Hanks is brilliant as always, adding yet another character to his ever-expanding repertoire. DiCaprio isn't nearly as interesting as Abagnale, mostly because of his largely invented personalities. The real triumphs of the film are with the smaller roles.
Christopher Walken is no less than a revelation in his subdued portrayal of Frank, Sr., a cuckolded father figure completely emasculated in his job, and pathetically weak through all the best intentions. Ever since "Batman Returns," I've largely written off Walken as an actor. That's a mistake. His performance borders on the tragedy of Willy Loman and is one of the film's nicest touches.
Amy Adams plays Brenda Strong, a nurse who falls for Frank during his doctor's phase. Frank is charmed by her, and nearly marries her, before Hanratty catches up with him once again and forces yet another identity change. His heart breaks, and so does ours.
"Catch Me if You Can" is part "The Sting," part "The Fugitive," and has the retro-feel of the 1960s caper films such as "Topkapi." The terrific opening titles and John Williams score evokes memories of great vintage films like "The Pink Panther" and "Our Man Flint."
Abagnale is not truly the hero of the film that its few detractors compel him to be. In the end, the morale seems to be that it takes a thief to catch a thief. The film is about irony, and how occasionally we need to be caught because we're not smart enough to stop running. It's not on the level of other Hanks films like "Apollo 13" or "Philadelphia." But it should fit nicely on the video shelf between "A League of Their Own" and "That Thing You Do." And that's not at all a bad thing.
http://accesswdun.com/article/2003/3/182273