If you’re not a big fan of the Christmas season or if December 25 is simply bearing down on you too fast, check out Bad Lieutenant: Port of Call — New Orleans, the new Werner Herzog film starring Nicholas Cage. The film’s bleached-out colors (it’s more “in gray” than “in color”), along with Cage’s damn-near demented performance as a variously addicted cop, contains not the least whiff of holiday cheer. The movie is funny—very funny—but in a way that will appeal more to your inner Beelzebub than to your Tiny Tim.
The new film is a sort of remake Abel Ferrara’s 1992 Bad Lieutenant. I say “sort of” because Herzog and screenwriter William Finkelstein took Ferrara’s title and his basic concept of the addicted cop, and jettisoned the rest. (Herzog has even claimed that he never saw the original.) When it comes to trans-Atlantic remakes, it’s usually the American filmmakers who dumb down a properly weighty European original. But Herzog has reversed the process. Except that he hasn’t so dumbed the original down as much as he’s lightened it up and set it free.
Ferrara’s (and Harvey Keitel’s) Bad Lieutenant was ultimately a lost soul who was trying to sin so hard that he would get God’s attention, and the film became an extremely Catholic tale of redemption. But Herzog has dropped the religious quest and simply set Nicholas Cage free, gloriously free, with the material.
Cage responds with the greatest cinematic high wire act since Phillip Petit walked that cable between the Twin Towers in Man on Wire. His character “develops” by becoming more outrageous in the ways he abuses drugs and also people—even nice old ladies—when he’s trying to get them to talk.
As the story plays out, you see that Cage’s lieutenant hasn’t really lost his moral bearings as completely as he seemed to. That’s well and good, but the film’s whiff of moral uplift isn’t what I took away. Instead I remember the iguanas that Cage’s character (but no one else) sees in his hallucinations. (They look very real, and when Cage slaps one you hear the thump.) And the shot of an apparently grieving alligator who seems to have just lost his or her mate when a car ran over it. Herzog actually gives us a shot from the alligator’s perspective and somehow renders the fearsome critter kinda human.
The pleasure, and perhaps even the greatness of the film lies in the freedom that both Herzog and Cage grant themselves. They both “go wild.” But both of them frame and master their daring: Herzog within the restraints of genre film, which he honors, and Cage within the discipline that he ultimately applies to his performance. He does all kinds of tricks out there on the high wire, but never falls off.
I loved Bad Lieutenant, but thinking about it is a little depressing as well. There is so little inspired movie making these days that this film feels like a revelation. When did it become so rare for the movies to show real daring and imagination?
Movie Review
Offbeat drama Pillion features command performance by Alexander Skarsgård
Describing the new movie Pillion is almost an act of futility. It contains a variety of seemingly disparate parts that coalesce into a whole to make it utterly fascinating. Few other recent films have been able to walk the line between filthy and wholesome in quite the way this one does, and that’s only because few other filmmakers would actually dare to try.
It centers on Colin (Harry Melling), a meek man in his mid-thirties who still lives at home with his parents, Pete (Douglas Hodge) and Peggy (Lesley Sharp), while working a dead-end job giving out parking tickets. While performing in a barbershop quartet at his local pub, Colin catches the eye of biker Ray (Alexander Skarsgård), who summons him for a clandestine hook-up the following day (which just so happens to be Christmas Day).
With barely a word exchanged between them, Ray establishes a dominance over Colin that quickly leads to them starting a relationship in which Colin does anything Ray asks. And that means more than just sex: Colin, whether desperate for any kind of affection or unlocking a side of himself he hadn’t known, readily agrees to cook, clean, shop, and basically do whatever else Ray wants him to do.
Written and directed by first-time feature filmmaker Harry Lighton, the film is astonishing in the way it’s able to mine humor from Colin and Ray’s atypical bond. To call Ray “unfeeling” might not be totally accurate, but the way he treats Colin borders on cruel. However, the way Lighton structures the film, it’s easy to understand why someone like Colin would be willing to go along with the situation. It’s both hilarious and heartbreaking to see Colin debase himself in a variety of ways.
On the flip side is Colin’s heartfelt arc with his parents. It’s established right away that Peggy, who is sick with cancer, is a bit too involved with Colin’s love life, with the opening scene featuring her setting him up on a blind date. But their easy acceptance of his queerness and desire to see him find love is as heartwarming as it gets. The juxtaposition between the wholesomeness of their family and Colin’s new life is also the source of a good amount of comedy.
Lighton does not shy away from the sexual side of Colin and Ray’s relationship, and the scenes he depicts are as graphic as you are likely to see in an R-rated film. Some go up to and a little past what might be expected in a mainstream movie (including the use of a certain fake appendage). Other times they play out in a comical way to illustrate just how far Colin has progressed from the person he was when the film started.
Skarsgård, who stole the show in the Charli XCX movie The Moment, is the attraction in more ways than one in this film. The part calls for someone who’s not only impossibly handsome, but also a person who can stop dissent with just a glance, and he lives up to both qualities equally well. Melling, best known for playing Neville Longbottom in the Harry Potter movies, also embodies his role perfectly. He plays Colin as weak enough to be run roughshod over by Ray, but not so hopeless as to not be worth rooting for.
Pillion (which is the name of the secondary seat on a motorcycle on which Colin rides multiple times in the film) operates at a storytelling level that is difficult to achieve. Many people will not fully understand the film’s central relationship, but the way it is showcased by Lighton makes it compelling, gut-wrenching, and sexy.
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Pillion is now playing in theaters.
