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In Bruges
By Myles
Hughes
In Bruges delivers a solid story and a unique setting
As shots of picturesque
city streets and cathedrals basked in the nighttime glow, play alongside
somber piano chords, I catch myself wondering if I’m sitting in right
theatre. I was under the impression I was here to see In Bruges,
a film that had been marketed to me as a fast-paced, violent comic
caper. That misapprehension lasted all of one minute, and then I heard
the voiceover narration of Ray (Colin Farrell), who informs us
that he has recently killed someone, and received further instructions:
“Get the f**k out of London you dumb f**ks! Get to Bruges.” And I knew I
was meant to be here.
In Bruges
eventually proved to deliver on its promise of being a violent comic
caper, but not in the manner one might expect. The film is a dark,
brooding meditation on good and evil, heaven and hell, and honor among
criminals. More than a few moments are deeply poignant, sad, and
affecting. The fact that the movie is absolutely hilarious at the same
time provides a satisfying cocktail of cinematic experience that will
say with you long after you leave the theatre.
Ray, as it turns out, is
an Irish hit-man who has just majorly screwed up his first job. He and
his partner/mentor Ken (Brendan Gleeson at his very best) are
ordered to hide out in Bruges, the most well-preserved medieval town in
all of Belgium. While Ray, who has the mentality of a spoiled
10-year-old, finds the sightseeing and architecture mind-numbingly dull,
Ken finds himself swept up in the antique beauty of the quiet little
town. The two characters are perfect foils for each other, and their
interactions and arguments provide some of the film’s best moments (from
both a comic and dramatic standpoint).
Ray later finds himself
smitten by a gorgeous Belgian drug dealer (Clémence Poésy) and
bemused by a racist dwarf (Jordan Prentice) on the set of a film.
Like the rest of the movie, these characters rise above what could have
been cliché and generic “colorful character” roles and become three
dimensional and interesting. However, the third act signals the sign of
darker things to come, with the arrival of London mob boss Harry (played
with frantic energy by the always-welcome Ralph Fiennes). This is
around the point that things turn violent, and all of the characters
must come to terms with one another as their destinies collide.
Colin Farrell is
an actor who, following a string of dud films with dud performances (Daredevil,
Alexander, and Miami Vice among others), is easy to
underestimate and disregard. Perhaps it’s because he’s given a role
where he’s just allowed to relax, be himself, and have fun, but he
shines here. His comic timing is brilliant, he makes Ray genuine and
appealing, despite his flaws. When aided by the brilliant Gleeson
and Fiennes, he steals every scene he’s in.
In the end, In Bruges
marks a most impressive film debut from writer/director Martin
McDonagh, who made the Oscar-winning short film Six Shooter
in 2006 (also starring Gleeson). The finale is energized and
intense, though the film never forsakes the simple blending of drama and
comedy that have made it work so well thus far. It ends on a poignant
note, with a lovely dash of irony, and a final piece of narration from
Ray that recalls Kevin Spacey’s last monologue at the end of
American Beauty. Like so many moments in the film, you won’t know
whether to laugh or cry.
****/****
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