Sept. 11, 2010
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Director:- Martin McDonagh
Release Date:- 2008
Cast:- Elizabeth Berrington,Rudy Blomme,Olivier Bonjour,Mark Donovan,Ann Elsley,Colin Farrell,Jean-
Marc Favorin,Ralph Fiennes,Brendan Gleeson,Eric Godon,Zeljko Ivanek,Sachi Kimura,Anna Madeley,Louis Nummy,ClГ©mence PoГ©sy,Jordan Prentice,JГ©rГ©
mie Renier,Thekla Reuten,Theo Stevenson,Inez Stinton,Emily Thorling,Angel Witney,Bonnie Witney,Ran Yaniv,Susan Ateh,Michael Bennett,Stephanie Carey,Jamie Edgell,CiarГЎ
n Hinds,Robbie Kay
Country:- UK, USA
The basic idea of the film is this:- Holed up in Bruges, Belgium after a difficult job, two hit men begin to differ on their views of life and death as they become used to local customs.
In Bruges is not for everyone. Like its characters, it’s unruly, foul-mouthed and has a weird sense of humour and no concept of good behaviour. But even if those caveats whet your appetite, there’s another hurdle to overcome: the dread phrase “British gangster movie”. In America, Martin McDonagh’s genre-stretching film already made a cautious bow at the box office, alienating some higher-brow critics who sniffed at its wayward and irresponsible tone but finding a surprising amount of support from grassroots cinemagoers, despite a very limited release.It’s a strange film. Going into it, there are all kinds of questions you might be asking yourself - isn’t this just Sexy Beast meets Pulp Fiction? Isn’t Brendan Gleeson a bit above this kind of thing? What is Colin Farrell famous for anyway? - but, coming out, all that remains are the positives. In fact, one online review - posted on Metacritic.com by user “Kristina”
- accidentally nails its perverse charm while trying to slam it. “Bad acting, unlikeable and underdeveloped characters, bizarre and stupid situations, too much blood, ridiculous ending,” she raged. But it wasn’t all bad news. “My husband and I were both disappointed in this movie,” she concluded, “but the one good thing about it was that we learned something about Bruges and would like to visit there someday.”This barbed compliment would no doubt amuse writer-director McDonagh, and, more to the point, sounds like something one of his characters might say. Once you’ve seen the film (and you must, even if just to disagree with this very, very positive review) hopefully it’ll amuse you too, thinking of the individual who fidgeted and tutted through 100 minutes of swearing, violence and profane epistemology - not to mention rampant class-A drug and dwarf abuse - and after all that still fancied a nice city break. It’s fittingly bathetic too, because, though it superficially takes place in the same cartoon underworld as Lock, Stock and its offspring, In Bruges has more in common with a Mike Leigh film than any of Guy Ritchie’s.Part of the reason for this is that McDonagh’s background, like Leigh’s, is in theatre, which explains both In Bruges’ weakness and strengths. Like a good stage play, McDonagh’s film explores character through dialogue as well as action, and though this makes it somewhat static - even taking into consideration its frenzied, blood-spattered showdown - In Bruges is able to sneak in some heavyweight questions under the radar. Though it speaks of contract-killing and cocaine-dealing, scoring and whoring, this surprisingly thoughtful film leaves plenty of ideas to be mulled over later, particularly those involving notions of audience identification. In Bruges is a film no Hollywood studio would ever make; it’s a film in which not one single foregrounded character - even the duplicitous love interest (the otherwise adorable Poésy) - is worthy of our sympathy, but by its enigmatic ending it has us, if not cheering them on, then definitely accepting them, and maybe even feeling genuine, if misplaced, affection for them. The key line arrives a little way into the movie. Ray and Ken have arrived in Bruges and, while Ken is enjoying the majesty of the local architecture, Ray is behaving like a petulant teen. “If I’d grown up on a farm and was retarded, Bruges might impress me,” he sulks. “But I didn’t, so it doesn’t.” Though funny, this kind of banter isn’t exactly new in the general field of gangster movies, let alone the UK kind or its rarefied fish-out-of-
water subgenre (see - or rather don’t - the Brighton-set Circus). However, when Ray looks across the town’s cobbled courtyard, where a camera crew is shooting, the film gets a much-needed jolt. Diverting from the smart-arse blueprint, Ray suddenly becomes a child again, his face melting with delight. “They’re filming midgets!” he squeals. Here, we enter the first of the film’s
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