With any luck Frank Miller’s “Sin City” will inspire a recent genre of filmmaking – a literal union between filmmaking and the world of humorous books/graphic novels. I know, I know, there have been countless films inspired by the world of comical books which have attempted to recreate the chills and thrills. Not one of them – even the best (e,g,, Spiderman series, Tales from the Crypt, etc.) has been remotely as successful as the creative team that gives us this vivid, jarring, vision.
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Rodriguez, Miller and company obviously keep themselves (and the cast) through painstaking paces to narrate every frame, every emotion emoted by an astounding array of live talent is instilled with the gritty, graphic hyperrealism of the world of Frank Miller. It is a breathtaking achievement which, alas, will go unnoticed and be underappreciated by many who don’t “derive” this world.
The cast is nothing short of remarkable: Mickey Rourke gives his finest performance since Barfly – maybe ever. Bruce Willis has never given a better performance than the retiring cop, Hartigan. Everyone keen is obviously relishing having the time of their lives. Outside of Shakespeare I can’t imagine anything currently more theatrically over-the-top and satisfying than being associated with Sin City.
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For many the violence will be of too gory and graphic in nature (gorygraphic? ) . Others will devour the rough meander but also be appreciative of the often splendid beauty of so many of this film’s images. The final fable in the trilogy of stories that effect up the movie is shot with the cold and chill of winter bathed in a snow storm of such fine beauty that I don’t secure it difficult to say it is among the most comely images I’ve seen in any film. Ever.
While it’s probably a total cliche to say it by now, Sin City really is a wild thrill trot of a movie, and quite possibly the most bright thing that will hit theaters all year. Adapted by director Robert Rodriguez from Frank Miller’s graphic-novel series, it’s an energetic slab of neo-noir, complete with crooked characters, ambiguous morality, and deadly serious dialogue. For those who understanding the End Bill movies weren’t bizarre or violent enough, Sin City ought to seem like a stylish, action-packed gift from guy-movie heaven. It’s filled with negativity, outrageously over the-top bloodletting, and some of the blackest humor known to man, but it all works anyway. I even managed to forgive the incessant voice-over narration, normally a rather slothful plot, because it’s so oddly poignant and poetic. It’s not really that vast a deal anyway, because this movie is so impressive visually that the characters could thunder in gibberish and I’d probably peaceful be moved to give it at least three stars.
It should be famed correct off the bat that Sin City is not a movie for everyone, but if you’re the type who would like it you presumably know who you are. IF you like crime movies, especially those filled with action and atmosphere, you will almost certainly pick up a kick out of Sin City. If you buy lighter, more “socially redeeming” fare, you may aloof like it, or you may be overcome with bile filling your throat for most of its two-hour running time. It’s all a matter of how willing you are to bag what’s going on without asking too many nagging questions like “How exactly did Mickey Rourke unprejudiced occupy out ten armed riot cops with nothing more than his fists and a hatchet? ” or “is it really possible or even well-known to manually shuffle off a man’s scrotum? “. Everything about this movie is utterly outsized, from the themes to the characters to the action, but in the kill it’s a rousing success at what it intends to do, which is entertain. It’s precisely because this movie was so utterly attractive that I found myself unwilling to nitpick; you’ll probably be too busy having your senses assaulted to linger on any problems you may have with the movie. Nothing is more key in movies (or TV, or novels for that matter) than getting the viewer to suspend disbelief, to simply let go and be pleased what’s transpiring regardless of the plausibility level. Some of my approved movies are wildly unrealistic, but at some point when watching them I honest decided to go with it. Sin City is one such movie: I realized early on that the events unfolding onscreen bore diminutive to no resemblance to reality as presently constituted; I impartial didn’t care. I went to watch this movie with my wife (who is, to save it mildly, not a fan of sunless or violent movies), and she may have summed up the experience of watching it the best when she said simply “I was never bored.” That, ultimately, is the secret to Sin City’s success: it’s so interesting to peep that it’s hard to care about anything else.
As everyone (and probably their brothers) knows by now, Sin City was filmed using sincere actors against a black-and-white CGI background with some touches of color added for dramatic carry out. It may seem like a gimmick at first, but Sin City is all about bringing the viewer into a sort of parallel universe, so this unconventional design works perfectly. Sin City is a movie dealing with lives on the edge, and it conjures up a delightfully dim, grimy, and gritty atmosphere to go match the depravity of its subject matter. Weighty themes and over-the-top violence abound here, and it’s only fitting that the movie’s witness and feel should be so uniformly haunting. Consisting of three tangentially related stories occurring out of sequence, Sin City brings the viewer into an underworld populated by thieves, murderers, hookers, and dirty cops, and the morality is viewed entirely in shades of grey. In the Basin City of the movie, where the gracious guys are terrible and the dreadful guys are even worse, violence is often a virtue, or at the very least a prerequisite for survival. If there’s one redeeming value to Sin City’s cartoonish ultraviolence, it’s that it’s painfully definite that its recipients generally deserve it.
Anyway, if there’s one theme running through all of these stories, it’s that of redemption. The protagonist in each yarn (Bruce Willis’s Hartigan, Rourke’s Marv, and Clive Owen’s Dwight) is a most unlikely hero (although Hartigan is honest a regular cop and therefore not exactly unpleasant, whereas it’s obvious that Marv and Dwight are murderers), but each finds himself driven to acts of crude courage and sacrifice in order to survey justice done. Sin City portrays a kind of heroism not typically seen in movies (especially big-budget, sanitized Hollywood productions), one that comes from doing the lawful thing even when it’s nowhere advance being the easiest thing. Rourke’s Marv is probably the most memorable character, a hulking thug with a highly overdeveloped sense of vengeance who managed to madden some of my sympathy even as he carve a swath of unimaginable destruction through his enemies on his plot to avenging a murdered prostitute. Out of the legions of other figures in the movie, the mammoth Benicio Del Toro deserves some special mention as a comically malevolent bent cop who won’t shut up even after he meets his dejected waste.
Now, although I’ve gone on too long already, I’d feel remiss if I didn’t talk about Sin City’s staggering violence quotient. Yes, this an extremely graphic movie, and grand of the violence is downright disturbing to see (Elijah Wood’s character being slice up and fed to a wolf is a prominent example, even if worthy of the violence in that case was implied), but it’s objective as right that context is an considerable factor when considering impartial how offensive such bloodletting is. Now, for one thing, Sin City is meant to be a allotment of escapist cinema, so nothing that takes site onscreen should be taken too seriously anyway. After all, no one got offended during the scene in Monty Python and the Holy Grail when King Arthur sever off the Gloomy Knight’s arms and legs; that scene was meant to be droll and it was. Perhaps more to the point, the violence here is so ludicrously over the top from the opening scene that it’s hard to imagine any rational person getting too upset. You have to fair go with it; if you’re the kind of person who makes it a point to be huffy and offended all the time you shouldn’t be seeing this movie anyway. ‘Nuff said
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