Talking Movies

May 19, 2010

The Bad Lieutenant – Port of Call: New Orleans

Werner Herzog’s incredibly loose remake of Abel Ferrara’s portentous piece of provocation becomes his first dramatic feature in years to equal the heyday of his collaborations with Klaus Kinski.

Stepping into the shoes of Kinski is the unlikely figure of Knowing star Nicolas Cage, who remembers that he too used to do ‘wild and crazy’ authentically once, and so rediscovers his inner Kinski… The dangerous rescue of a man during Hurricane Katrina leads Terence McDonagh, our ‘hero’ cop, to the titular promotion but also chronic back-pain. The hunch this causes makes him increasingly resemble Kinski’s Aguirre as the film proceeds but McDonagh goes mad on drugs not power, as (like House MD) he soon finds his anaemic painkillers insufficient but instead of trading up to vicodin he trades up to cocaine, heroin and, well, whatever else he can lift from the evidence lock-up room.

There’s actually a surprisingly logical police procedural underpinning all Herzog’s madness. The investigation into a Senegalese family of five murdered by the local drug-lord (Xzibit) is complicated though by McDonagh trying to sort out the escalating problems of his hooker girlfriend Frankie (Eva Mendes), which involves the greatest cameo involving nonsense repetition of one word you will ever see by any actor. McDonagh is also persecuted by Internal Affairs for, um, torturing a frail woman in a nursing home for witness-tampering, the witness being her devoted nurse’s grandson. Cage’s entrance in that scene is startling, shaving while he waves a gun wild-eyed, and the whole scene is jaw-droppingly outrageous but utterly hilarious – as if Sacha Baron Cohen was re-writing a thriller.

Cage’s matter of fact delivery of “I snorted some cocaine but it turned out to be heroin and I have to be in work in an hour” is almost the starting point for the film to go enjoyably and totally off the rails. Herzog lingers on the soul of an alligator observing a traffic accident, plays out an entire scene with iguanas sitting on a coffee table, and shows unnecessary violence being authorised to stop non-corporeal jiving. McDonagh tries to get incriminating evidence on Xzibit’s drug-lord by working for him, and the deadpanning of all concerned as Xzibit’s Big Fate explains his plan for going straight by building condos three years before it’s fashionable, while a dead body is disposed of in the background, is priceless. To gripe, Val Kilmer is under-used as McDonagh’s partner, but the ensemble, including Vondie Curtis Hall’s Captain and Brad Dourif’s long-suffering bookie, are uniformly solid and wisely under-stated opposite Cage’s rampaging.

Cage gives notice that he should be taken seriously again with his best performance in many years, while the ecstatic madness of Werner Herzog which has found full rein in his recent documentaries The White Diamond and Encounters at the End of the World finally returns to his dramatic movies. Essential viewing.

4/5

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