Skip to main content

IN BRUGES. Dir Martin McDonagh. 2007

Image result for movie images in bruges

 
When a film opens with a torrent of f***ing you might suspect a lack of imagination in the scriptwriting. The unseen foul mouthed Londoner is played by Ralph Fiennes as Harry, paymaster or gang boss. He’s sent Ken (admirably played by Brendan Gleeson) and Ray (Colin Farrell) to Bruges after a botched assassination, so they can hide out and await his instructions. The two are supposedly hit men but lack underlying menace so this may be a light hearted homage to ‘Pulp Fiction.’

Ken patiently tolerates Ray’s nervousness and the two spend time sightseeing. Nothing happens for a time although Ray does meet a girl working on a film set but, once he’s asked her out, she doesn’t work on it anymore which is puzzling. The earlier botched assassination also makes no sense as a small boy would run away or hide if he heard gunshots.

Common sense and continuity flaws aside, there are references to ‘Don’t Look Now’ in the way Bruges is made to look sinister at times around the canals and mediaeval architecture. There’s also a midget.

Contrasted with Gleeson’s dignified calm, Farrell grimaces, twitches and fusses, unable to form a natural facial expression for much of the story.

Lacks pace, tension and meaning although the ending is a redemption or sacrifice of sorts, honour among thieves/killers sort of thing. Funny in places.

 

Comments

Popular posts from this blog

Running ‘till your nipples bleed

An email from a friend of mine arrives; she complains that, at work, she is routinely subjected to gruesome accounts of female colleagues’ intimate medical procedures and gynaecological problems. I am all commiseration because I, too, have had years of listening to workplace chats about periods, childbirth and sex lives. Oh please. Later, I wander off for a walk in the early evening sunshine and it is so silent and so beautiful that I flop down on the grass and lay awhile gazing out over the rolling fields, and the mouth of the river, and fall into a reverie. Two men pass by. A few minutes later sounds of women’s talk float nearer and, by the time the two females of the species draw level with me, I have risen up from my deliciously recumbent position in the meadow, alert and tense, something like a meerkat. “I do feel for her. Going down that IVF route is such an emotional roller coaster. I was never prepared for how terrible it was going to be.” I remain frozen in my meerkat position...

Ian McEwan. Amsterdam. London: QPD, 1998

McEwan’s novel about ambition, personal betrayal and revenge features Clive, a modern composer trying to complete a major orchestral work, his friend Vernon, an editor trying to save his ailing newspaper, and Garmony, an unscrupulous right-wing politician on the rise. In common, all three have, in previous years, been lovers of recently dead Molly. They meet at her funeral and the story follows the next few weeks of the men’s lives. Vernon and Clive act as one another’s conscience, each infuriating the other. Which is more important, honesty, friendship and trust or Vernon’s newspaper and Clive’s symphony? The novel presents the difficulties of balancing personal and public morality, the importance of private shame and public reputation, the conflict between taking a moral decision for the greater good, or putting first ones own desires. Not just a simple exposé of a politician with a vulnerable side, Amsterdam is full of double standards and surprises, and takes a long, cynical look a...

OLD JOY. Dir Kelly Reichardt. 2005

Dropout Kurt arrives in town and calls up his old friend, earnest father-to-be Mark to suggest a camping trip out in the forest, away from the city. They haven’t seen each other for some time and the film suggests a desire for intimacy as well as a quest for peace. Something of a lost soul, Kurt is emotional and, at times, to be pitied. He lives outside society, in a world of new age type retreats and travels, which seem to have left him out on the margins. In contrast, Mark has a home and a pregnant partner, and tunes his car radio in to phone-ins with much loud chat about the state of society in America but he seems only half alive. They drive out of town, with the camera as passenger, which gazes out of the car window while a gorgeous soundtrack by Yo La Tengo sets a mellow mood. The use of extended silence makes me a little uneasy; it’s hard to get away from memories of Deliverance, and a sense of apprehension. In the city, the glass of the car windows insulates us...