By Dennis Hartley
(Originally posted on Digby’s Hullabaloo on February 23, 2008)
It’s hard to believe, but it’s been 14 years since Pulp Fiction was unleashed on an unsuspecting public. So what can we glean from this factoid? What hath Tarantino wrought? For one thing, the genre tag “hit man comedy” is now officially part of the cinematic lexicon. And, by the looks of things, (love it or loathe it) it is here to stay.
The latest example is a film that reportedly, er, knocked ‘em dead at Sundance and is currently n theaters-Martin McDonagh’s In Bruges. A pair of Irish hit men, Ken (Brendan Gleeson) and Ray (Colin Farrell) botch a job in London and are exiled to the Belgian city of Bruges, where they are ordered to lay low and await judgment on their cock-up from their piqued Dublin employer (Ray Fiennes).
Ken is enamored by the “fairy tale” ambience of Bruges, with its intricate canals and well-preserved medieval architecture, and decides to play tourist. The ADD-afflicted Ray, on the other hand, fails to see the appeal of “old buildings” and would just as soon plant himself in front of a pint for the duration of his purgatory.
Initially, Ken lures the reluctant Ray into joining him for sightseeing with the promise of pub time afterwards. However, it becomes evident that Ray lacks any discernible social filter, displaying a general disregard for local mores and folkways. Ken decides that the best way to stay low profile would be to let Ray pass time as he wishes.
In order to avoid spoilers, I won’t elaborate, other than to say that Ray wanders off and finds himself a love interest and enjoys escapades like a coke binge with a “racist dwarf” while Ken is thrust into a moral and ethical dilemma that fuels the dramatic turn of the film’s final third. Toss some heaping tablespoons of raging Catholic guilt, existentialism 101 and winking Hieronymus Bosch references into the mix, and voila! (The Sundance crowd swoons…)
So what exactly has McDonagh cooked up here? Well, as much as I’d like to be able to tell you that it’s “an original dish”, I’d have to call it more of a “sampler plate” featuring a generous wedge of Tarantino and tidbits of Guy Ritchie, sprinkled with a taste of Brendan Behan.
If you’re a fan of dark (very dark) Irish humor, you’ll likely get a few decent chuckles out of playwright McDonagh’s brash and brassy dialog (and marvel at his creative use of “fook” as a noun, adverb, super verb and adjective).
Unfortunately, the humor doesn’t fold so well into the mix with the generous dollops of dramatic bathos and queasy violence. Also, some of the more decidedly un-PC jokes fall terribly flat (I realize that nothing is sacred in comedy, but referring to obese people as “elephants” and a dwarf as a “short-arse” is not what I consider groundbreaking, cutting-edge humor).
That said, there are some strong performances, almost in spite of the film’s uneven tone. Gleeson and Farrell vibe a Laurel and Hardy dynamic together that works very well; you almost expect the doughy, exasperated Gleeson to exclaim “Well, it’s another fine mess you’ve got us into this time!” every time Farrell throws gas on the fire with a Tourette’s-like outburst.
Farrell has not previously impressed me as a nuanced performer, but in this film he proves to be quite deft at navigating the tricky waters of black comedy.
Gleeson, a world-class actor, is superb as always. Fiennes, who seems to be channeling Ben Kingsley in Sexy Beast (by way of Michael Caine) goes way over the top with his archetypal caricature of a “hard” Cockney gangster, but he appears to be having a grand old time just the same.
I had an “OK” time on my little Belgian excursion with Ray and Ken; and the location filming does make for a great travelogue, as Bruges truly is a beautiful city-but In Bruges may not be the ideal cinematic getaway for all tastes. A guarded recommendation.