cinemattraction

In Bruges is a film that owes much to earlier endeavors like Hitchcock’s Rear Window and Michael Mann’s Heat in that setting plays a key role. Yes, these are films with well-developed characters. But compelling arguments can be made that these films are as much about their locale as anything else. Rear Window tells the story of an apartment complex, and Heat chronicles gangsters and the streets of Los Angeles (which oddly enough gets a nod in McDonagh’s screenplay). In Bruges is a story, in one sense, about the Belgian city of Bruges. To already equate In Bruges with films of the caliber of Heat and Rear Window is to say that it deserves high praise.

Ray (Colin Farrell) and Ken (Brendan Gleeson) are hit men who recently completed a job in London. Their boss Harry (Ralph Fiennes) sends the two to the Belgian town where they must await further instructions. Hilarity ensues as Ray and Ken see different sides to the medieval city. Ray is not impressed with the city, but Ken finds it endearing and magical. Ray wants to go to the pub and meet girls, while Ken prefers to ride the canals, browse museums, and ascend gothic towers.

If you’ve felt underwhelmed with Farrell’s work recently (Alexander, The New World, Miami Vice) take a look at In Bruges. It marks a departure from the intense, big-budget, big director films into a more comedic role – and it suits him quite well. If the actor were a relative unknown, critics might hail him as a “revelation” and “one of the great finds of the year.” However, this is indeed what Farrell accomplishes here. Farrell shows that he is more than capable of handling the multiple aspects of Ray’s personality, from his smug immature exterior to a plush and warm interior.

Most of the world knows actress Clemence Poesy from her turn as Fleur Delacour in Harry Potter and the Goblet of Fire. For In Bruges, she dons Ray’s interest Chloe. Leave the judgments that she is merely a pretty face at the door. Chloe’s job – if one can call it that – is selling drugs to actors while filming in the city. Initially off-putting, her pairing with Ray is a good thing. Both seem to calm each other down and force each other to look at life with a bigger picture in mind: What am I doing as a hit man? What am I doing as a drug-dealer?

In Bruges also features Gleeson and Fiennes. Gleeson does well as the mentor figure and tries his best to reign in young Ray. Fiennes, who is slowly developing a more and more creepy resume, plays the gang boss.

But while each of the principle actors does fine work, the real star of the film is the city itself. It is not a question of whether people will book vacations to Bruges after seeing this film. It is only a matter of how fast. Bruges is one of the most well-preserved medieval cities in Europe and McDonagh knows it. The film never stays from highlighting the cobblestone streets, the bustling center plaza, or the seemingly never-ending of stone towers. Ray and Ken’s hotel room overlooks another fabulous plaza with a canal and a bridge running over it. No big fancy hotel for the hitmen either – just a quaint bed and breakfast that nobody would refuse.

It is unexpected that a film like In Bruges opens during this box office season. The biggest winner here is the moviegoing public who receives such a refreshing film surrounded by other, sourer efforts.

© 2008 Charley McLean. All rights reserved.

Filed under Reviews