In the case of some directors I cannot fathom what goes on in their head when they choose their next project. How could you possibly predict that Ang Lee would follow a comic book film with a serious drama? And similarly, how could you ever know what went on in Werner Herzog’s mind when he decided to do a new version of Abel Ferrera’s Bad Lieutenant? When I say new version, I definitely do not mean remake, because this Lieutenant is miles away from the somber cop doomed for destruction that Harvey Keitel put on the screen.
In this new version we get madness, and lots of it. Mostly related to the drug-induced state that Terence McDonagh finds himself in, initially to help him deal with his constant back pains. So what we have here is not so much a character who wrestles with his inner demons (though there are some; his drunk parents on their way to rehab and a need to prove himself in the force due to his father’s legacy) as there was in Ferrera’s version, but we get a story that lets us fully indulge in our fantasy of doing horrible things without a conscience. The violence and drug use in this film is as gloriously enjoyable as in a good early Tarantino film and with hardly any consequences to the character as Hollywood used to deem necessary. We never really get into the mind of lieutenant McDonagh or feel remotely guilty for the things we are seeing on screen but, my, oh, my the ride is surely a fantastic thing to behold.
Gloriously over-the-top, Nicholas Cage’s acting approaches the genius of his role in Leaving Las Vegas. He sure seems to have a knack for playing people who are under the influence of something. But what is so great about this film, and what must surely be Werner Herzog’s insane influence on it, are the psychedelic sequences in between. Supported by a great hallucinatory soundtrack are McDonagh’s delirious visions of iguanas and crocodiles that are filmed in a way that seems to connect with the state of a very disturbed mind. The setting too, is perfect for this version of the Bad Lieutenant. Where New York made the story dark and profound, New Orleans gives the whole thing a sweaty and hallucinogenic atmosphere that was previously explored in the TV-series True Blood. It perfectly fits this tale of an unhinged mind, set loose on the world in a position of some power.
I was concerned that the story would end with all the crazy characters reforming themselves and their lives and I had reason for worry when near the end everyone sits at a table drinking mineral water, but fortunately we can trust Herzog. He makes the film end with a hilarious scene where Cage stares vacantly into space and breaks up over a joke inside his head that we’ll never be able to hear.
In this new version we get madness, and lots of it. Mostly related to the drug-induced state that Terence McDonagh finds himself in, initially to help him deal with his constant back pains. So what we have here is not so much a character who wrestles with his inner demons (though there are some; his drunk parents on their way to rehab and a need to prove himself in the force due to his father’s legacy) as there was in Ferrera’s version, but we get a story that lets us fully indulge in our fantasy of doing horrible things without a conscience. The violence and drug use in this film is as gloriously enjoyable as in a good early Tarantino film and with hardly any consequences to the character as Hollywood used to deem necessary. We never really get into the mind of lieutenant McDonagh or feel remotely guilty for the things we are seeing on screen but, my, oh, my the ride is surely a fantastic thing to behold.
Gloriously over-the-top, Nicholas Cage’s acting approaches the genius of his role in Leaving Las Vegas. He sure seems to have a knack for playing people who are under the influence of something. But what is so great about this film, and what must surely be Werner Herzog’s insane influence on it, are the psychedelic sequences in between. Supported by a great hallucinatory soundtrack are McDonagh’s delirious visions of iguanas and crocodiles that are filmed in a way that seems to connect with the state of a very disturbed mind. The setting too, is perfect for this version of the Bad Lieutenant. Where New York made the story dark and profound, New Orleans gives the whole thing a sweaty and hallucinogenic atmosphere that was previously explored in the TV-series True Blood. It perfectly fits this tale of an unhinged mind, set loose on the world in a position of some power.
I was concerned that the story would end with all the crazy characters reforming themselves and their lives and I had reason for worry when near the end everyone sits at a table drinking mineral water, but fortunately we can trust Herzog. He makes the film end with a hilarious scene where Cage stares vacantly into space and breaks up over a joke inside his head that we’ll never be able to hear.
No comments:
Post a Comment