Refn Returns to the Weird with "Only God Forgives"

*Only God Forgives is in theatres and On Demand now.

 

Directed by Nicolas Winding Refn, written by Refn, starring Ryan Gosling, Kristin Scott Thomas, and Vithaya Pansringarm - Rated R

This is definitely one of those disturbing Chigurh movies.

 

 

 

 

 

 

Nicolas Winding Refn got a lot of attention with Drive so it comes as no surprise that some people (critics, as well, I guess we count as people...) are disappointed with his latest film, Only God Forgives.  I am not discounting anyone's negative opinion of the film (opinions can't be right or wrong), but if people are upset because the film isn't all that much like Drive, they should take a second look.  If forced to compare the two films, I will admit that I enjoyed Drive much more than this film.  That said, Only God Forgives is the more challenging, and interesting, of the two.  Fans of Refn pre-Drive should definitely check this out.  But think more along the lines of Valhalla Rising than Drive.

 

Since I started off with comparisons to define this movie, I might as well take it one step further to give you an idea of what this movie is like, at least in tone.  I would describe it as Kubrick's The Shining by way of David Lynch's Blue Velvet.  This is a very psychological film, and a lot of the main character's inner conflicts are represented in a nightmarish hotel-type setting.  These scenes feature plenty of slow tracking shots as well, so that's where the Kubrick comes from.  It's kind of like Refn decided to keep going through the rooms in the hotel in The Shining instead of just glimpsing in at the weirdness (remember that strange shot with the dude in the dog costume?).  The Lynch comes from the randomness of the film, most notably the karaoke.  Yes, Only God Forgives features multiple karaoke scenes in which the audience watches in perfect stillness.  Think Dean Stockwell's rendition of In Dreams in Blue Velvet.  By the way, I don't consider these similarities a weakness in any way.  Refn still has his own style, and I love it.

 

Speaking of style, if you just want to watch this movie for some spurts of brutal Refn violence with some interesting uses of color all set to strange yet perfectly fitting music, then you'll be pleased with this.  If you want an easily accessible story to go along with that, you'll be disappointed.

 

Only God Forgives does a have a relatively simple revenge story since it essentially just about Ryan Gosling killing the cop (an incredibly menacing Vithaya Pansringarm) who allowed Gosling's brother to be killed.  But this is not a movie about Gosling going around beating dudes up.  Gosling barely speaks, for one thing (although he speaks more than One Eye in Valhalla), and his brother doesn't really deserve to be avenged.  Gosling's brother rapes and kills an underage girl.  On top of that, Gosling's basically evil mother (an easy to hate Kristin Scott Thomas) manipulates him at every turn.  In fact, Gosling isn't very likable either.  The film kind of feels like a revenge story told from the "bad" guys' perspective.  There's nothing wrong with that, though, and I find it pretty interesting.  Some people might want to like the protagonist, however. 

 

The fact that the "hero" of the film isn't exactly into his quest nor do we want him to accomplish his task is strange enough, but Only God Forgives allows itself much more interpretation.  I don't want to posit any theories in a review, but when you look at the movie with characters representing some good and evil archetypes it gets pretty interesting.  If you're not willing to put a little thought into the film, some of it will be downright pointless. 

 

Because of that, this is up there with Valhalla Rising as one of Refn's more challenging films.  It's still entertaining, but not nearly as fun to watch as Drive or Bronson.  But it leaves an impression, and it might make you think a bit.  And it's still Refn, so at the very least you'll get an interesting audio/visual experience.  Is it as good as Drive?  No, it's different.  It's interesting and challenging.  And sure, I'll watch Drive at least a dozen more times over the years, and I'm not sure if I'll ever watch Only God Forgives again.  But it's still worth checking out.  When Nicolas Winding Refn challenges the viewer it's not always fun, but it's definitely worth your time.  

 

Random Thoughts (SPOILERS)

 

Wow, does Gosling take a beating in this movie or what?  It might be the greatest one-sided fight scene I've ever seen.  Although it is kind of hard to think of many one-sided fights in movies.  There's usually a slight chance the other participant could win...  Anyway, very brutal.

 

Completely dug most of the music, especially the fight scene music.  Drive still takes the cake in that department, though.  I might buy one song from this soundtrack, but I still listen to songs from Drive regularly.

 

Okay, might as well get into the theory that I think fits the most.  I'll keep it short.  Gosling's mom is Satan and the cop is God.  This is why he seems almost supernaturally powerful and tends to dispense judgment (this is Old Testament God).  Gosling finally gets away from Satan's influence (and feels the need to reminisce inside the womb one more time...odd), and seeks forgiveness from God.  He wants forgiveness for killing his father years ago (confirmed by the mother), which is why he allows God to cut his hands off in the end.  This is his ultimate fear as early scenes in his nightmare/psyche/hotel foreshadow this punishment.  By the end, enough has happened to him that he accepts his punishment and it relieved/released.  Or whatever...

"Drive"

Drive - Directed by Nicolas Winding Refn, written by Hossein Amini, starring Ryan Gosling, Carey Mulligan, Albert Brooks, Bryan Cranston, and Ron Perlman - Rated R

The first Vader of the year.  Can't help it, I just love the work of Nicolas Winding Refn.

Every now and then something great happens in Hollywood. An interesting director makes enough great films overseas and he’s given a modest budget and a little star power and he gets to make whatever he wants out of a film. And then that film ends up playing on the big screen in an area as small as Perry County. I sat back unbelieving Sunday night as I watched Nicolas Winding Refn’s latest film Drive and witnessed one of the best films of the year…and I didn’t have to drive an hour to see it.

Refn has been making quality films since 1996’s Pusher, and recently he made his finest film to date (in my opinion, of course) with 2008’s Bronson. His films are not easily digestible as they feature graphic violence, strange soundtracks, and plenty of awkward silences. Drive continues that tradition as it features all three of those elements. Because of this, many people might simply dismiss this movie as “weird.” That’s easy enough, especially since the previews make it out to be some hardcore action flick (it has action, but to call this an action movie is unfair).

Weird isn’t a bad thing, especially with some of the crap Hollywood churns out these days. Drive may not be a traditional film, but it has it where it counts. There are awkward silences and the soundtrack, which sounds like it belongs in an 80s thriller, may be out of left field, but it all comes together to make one stylish film.

Drive doesn’t seem so odd on the page, though. It’s about a Hollywood stunt driver who moonlights as a getaway man (Ryan Gosling) who falls for a damsel in distress (Carey Mulligan) but gets into trouble with the wrong men (Albert Brooks and Ron Perlman). It’s your standard story of a low level criminal getting in way over his head. But it’s so much more than that thanks to what Refn and Gosling bring to the film.

Ryan Gosling has done well for himself lately, but he’s never really turned in a commanding physical performance. He’s stuck to these troubled characters that have issues operating in the real world. No problem there, since he handles that disconnected performance so well. In fact, he gives that same performance for much of Drive to the point that some people have speculated that his character is sociopathic. His strange, constant grin and ability to turn every moment into an awkward silence certainly makes for an interesting performance especially when he so seamlessly turns into a badass.

Gosling gets to go crazy in this film and it’s great. The film makes good use of his leather driving gloves and you can just feel (and hear) the tension every time he makes a fist. And every time he makes that fist you just know things are going to get violent. The violence is typical Refn: bloody, shocking, potentially disturbing…but perfectly reasonable for the story. The ultra-violence is acceptable for a film like this because it is meant to kick you in the face when you least expect it. Violence is standard in films these days but sometimes it can put in there just to placate the bloodthirsty hordes. Sure, those hordes will like Drive, but with this caveat, “It was awesome, but man, it was slow…and kind of weird.” Others will realize that the violence is there to shock you, not just entertain you. The scenes of violence are not treated trivially; they are intense. But they do look amazing (I never claimed I wasn’t part of the bloodthirsty hordes).

The title of the film may lead you to believe that the majority of the action of this film would take place on the road, but that is not the case. There are a few well crafted getaway/chase sequences, but this film isn’t exactly a full-on car movie, though there are plenty of cool shots of the dash with Gosling’s intent eyes in focus in the rearview. The title of the film is more about the drive of Gosling’s character than it is about the physical act of driving, however. Some may be disappointed by the lack of cars and all, but there should be plenty there to keep people entertained.

Drive also has the benefit of an amazing cast. Aside from Gosling, Mulligan does a fine job silently communicating with him in plenty of scenes and she certainly comes across as a woman worth fighting for. Bryan Cranston has a few good scenes as a mentor-type. Christina Hendricks has a decent, though small role. Perlman livens up the screen in his scenes. And Albert Brooks is the surprise of the movie as a menacing, though reasonable mobster.

If all of that wasn’t enough, then there are plenty of smaller elements to focus on with the film. The strange satin jacket emblazoned with a scorpion that Gosling sports in nearly every scene can add depth to the film when you factor in the reference to the fable “The Scorpion and the Frog.” Though the film is enjoyable by just leaving it alone and saying, “It’s just a jacket that’s meant to convey an almost 80s sensibility of the film.” That retro look along with the soundtrack is cool enough to keep things interesting as well.

Interesting is the word that should be used for Drive. The film can be looked at closely and it can be simply enjoyed. My suggestion: enjoy it simply at first, then stop and think about what you’ve just seen. There’s enough action and style to keep you entertained, but there’s also enough under the surface to keep you thinking of the film. That’s certainly the effect the film had on me and I can’t wait to watch it again.

Random Thoughts (SPOILERS)

Gosling stomps a dude’s face until it is nothing!  No comment really about this, just...wow.

That shotgun blast that disintegrated Christina Hendricks's head was ridiculous in all the right ways.

The Scorpion and the Frog is a fable about how the you can't change someone's nature.  In the fable, it's the scorpion.  In Drive, it's Gosling.  He can't change, so even if he does survive that gut stab at the end (I believe he's dead, though), he still has to move on and keep driving.

Refn loves it when making a fist makes a sound...and I do, too.

Finally, I heaped insane amounts of love on this film and I am not alone.  I'm sure the backlash has already begun, but you shouldn't let yourself be swayed by other critics or by the message board crowds.  I loved it and apparently other people loved, but that didn't sway my opinion.  Nicolas Winding Refn is who convinced me that this is the best film of the year so far.