Greetings Loved Ones! Liu Is The Name, And Views Are My Game. Continue reading
Greetings Loved Ones! Liu Is The Name, And Views Are My Game.
I won’t lie, the first time I saw Nicolas Winding Refn’s Only God Forgives, it really pissed me off. It wasn’t just the frequent use of racial slurs, and protracted, highly gory torture scenes that bothered me. It was, well, everything. The one-dimensional characters, bizarre dream sequences, unsatisfying ending, and heavily implied incestuous relationship between the main character and his mother all added up to an utterly unpleasant viewing experience. The first time I saw it, I sympathized 100% with the half of the audience at the 2013 Cannes Film Festival who either walked out or booed when this movie was shown. To put it bluntly, I hated it, and told myself that I would never watch, or even speak of, it again.
And yet, as much as I despised the picture, I couldn’t get it out of my head. It was like a tiny piece of gum stuck to my trousers–try as I might, it just wouldn’t go away. And the longer I thought about the movie, the more I came to appreciate it. I was drawn to it, particularly to its vibrant colors, haunting visuals, narrative subtlety and strong mythological undertones. With every mental revisitation, I uncovered something new to appreciate until, without realizing, I found myself liking–yes, liking–it. It’s not that I’d forgotten about all my old complaints, if anything, my newfound appreciation for the picture made me pick at those aspects I didn’t like more, but at least now I had some good with which to balance the bad. I could finally understand why, when it was screened at the 2013 Cannes Film Festival, half the audience, the half that wasn’t booing it, gave it a standing ovation. I had stumbled upon one of those rare pieces of cinema which left it’s spectators with absolutely no middle ground. Either you loved it, or you hated it with a passion so great, so burning, as to melt the ice caps.
But what is Only God Forgives? What, in the end, does this divisive piece of cinema really boil down to?
Thematically, it boils down to a story of a broken man wanting to take vengeance on God for making him suffer so greatly, but, in doing so, finding redemption. Literally, though, it’s the story of Julian, an American ex-pat living in Bangkok. He owns a Muy THai club, but it’s quickly revealed that that’s just a front for a drug-smuggling operation. Julian doesn’t talk much, and his interactions with other people are pretty much limited to his sessions with Mai, a prostitute who he seems to have some feelings for, and his conversations with Billy, his brother, who’s a sadistic pervert. How sadistic and perverse is he? Well, at the start of the movie, he rapes and kills a thirteen-year-old girl. Yeah. Charming. Don’t worry, though. We don’t have to deal with him for long, because he is quickly apprehended by the Thai police, and the mysterious Inspector Chang is brought in to investigate the matter. Upon seeing what Billy has done, Chang allows the girl’s father to beat him, but he ends up getting killed in the process. Chang, however, doesn’t care about Billy’s death. What he does care about is the fact that the girl’s father knew that she was a sex worker, and did nothing to stop it. For this, he cuts off the man’s forearm and leaves.
Upon hearing of Billy’s death, Julian tracks down the father and confronts him about why he killed his brother. When he learns that the man was simply avenging his daughter, however, he decides to let him go. Julian and Billy’s mother, Crystal, arrives in Bangkok to identify the body. She demands that Julian find and kill the men who killed Billy, but he refuses—believing that the man had some justification for seeking retribution for the killing of his daughter—infuriating her. Julian has several visions of meeting Chang in a dark room, where Chang cuts Julian’s hands off.
Julian brings Mai to meet Crystal, posing as his girlfriend. Crystal sees through the ruse, hurls insults at Mai, and demeans Julian, pronouncing him sexually inferior to his dead brother. Julian humbly accepts all of Crystal’s abuse, but afterward turns on Mai, viciously humiliating her, then regretting it. At Crystal’s request, one of the fighters at Julian’s boxing club assassinates the man who killed Billy. Later, the police arrive at Julian’s club, but Chang concludes that Julian is not the father’s killer. Julian recognizes Chang from his visions and follows him from the boxing club, but Chang seems to disappear into thin air.
After learning that Chang was involved in Billy’s death, Crystal meets with an associate, Byron, to arrange Chang’s assassination. Three gunmen on motorbike are sent to kill Chang at a restaurant with machine guns, and two of Chang’s men are killed in the shoot-out. Chang kills two of the gunmen, follows the third on foot, and beats him with a frying pan. The gunman leads Chang to his boss, Li Po, who is feeding his young crippled son. Chang then kills the third gunman, but spares Li Po after seeing him show affection for his son. Li Po points Chang to Byron, who ordered the hit. Chang finds Byron in a club and tortures him to get answers. Byron reveals the reasoning behind the hit, but refuses to give a name. Chang continues to torture Byron.
Julian confronts Chang and, after challenging him, they fight on the bare concrete floor of Julian’s boxing venue. Chang, an experienced boxer, easily beats Julian, who does not land any blows. Afterwards, Crystal tells Julian that Chang has figured out she ordered the hit on him. Fearfully, she pleads with Julian to kill Chang to protect her, the same way she asked Julian to kill his own father for her. She promises that after Julian kills Chang, they will go back home and she will be a true mother to him.
Julian shoots the guard outside Chang’s home, and he and his associate Charlie Ling enter Chang’s house, intent on ambushing him when he returns. Charlie informs Julian that he was instructed to execute Chang’s entire family. Charlie murders the nanny of Chang’s daughter as she enters the home, but Julian shoots Charlie before he can kill Chang’s young daughter.
Chang and a police officer visit Crystal. She blames everything on Julian, and Chang cuts her throat. Julian returns to the hotel and finds his mother’s corpse. In silence, he approaches her body and cuts open her abdomen. Julian slowly places his hand inside of the wound. After leaving and having several surreal visions, Julian stands in a field with Chang, who appears to cut off both of Julian’s hands with his sword. The final scene returns to Chang singing at a karaoke bar with an audience of attentive police officers.
Now, if you’re anything like me, at this point, you’re probably thinking, “What the hell? What did all that mean? Did that mean anything? Why did I just sit through that movie? Why do I feel so confused?” Well, if you are feeling that way, don’t worry. It’s perfectly normal to. I certainly did when I first saw this movie. But, unlike me, you all have someone who can explain this bizarre picture to you–who can help you get through all the confusion. And, if you’ll do me the great pleasure of reading onward, I shall strive to do both.
Now, as I stated earlier, I believe that this movie is about faith, about a man’s struggle’s with God given all that has happened to him. There are several reasons why I view the film this way. Firstly, the character of Inspector Chang. He is truly divine. Seriously! Never once in this film does anyone hit him, shoot him, or hurt him in anyway, which suggests that he’s invulnerable. In addition, there are several scenes in this movie where he just seems to teleport around. One minute he’s in one place, and then, in another, he’s somewhere totally different. On top of this, he appears to be the utmost authority in the land, passing judgment and dealing out punishment with total impunity, in much the same way that God does. But perhaps the greatest reasin why I see him as God is that, in an interview with the press, Vithaya Pansringram, the actor who played him, stated that Winding Refn directed his sequences with the following sentence, “You are God in this world.” So, yeah, it’s clear that we have a divine figure in this film, and that Chang is it.
The second reason why I view this movie as a damaged man’s struggle with the divine is the character of Julian. When you watch him, it is clear that he is just a broken shell. His quietness, his violent outbursts, the fact that he can’t actually have sex–yeah, whenever he goes to see Mai, he just sits there and watches her touch herself–all indicate that he’s not completely sane, and that he’s suffering greatly. And yet, there is still some hope fort him. He feels guilt after exploding at Mai. He refuses to kill Chang’s young daughter, and the man who murdered Billly. This all indicates that he does still possess some semblance of a moral compass, and the fact that he keeps following Chang, and has visions about him, suggests that maybe, like the prodigal son, he is looking for some forgiveness, some divine guidance. This, I think, is why the title of the movie is Only God Forgives–because it is about someone looking to be forgiven for his crimes.
“But how,” you might ask, “does Chang forgive Julian? I mean, doesn’t he cut off his hands?” Well, if you really analyze the film, you come to realize that that is actually a form of forgiveness.
See, hands are a recurring motif in the movie. Chang cuts off several people’s hands, Julian has a vision in which he sees himself washing blood off them, he has his hands tied whenever he visits Mai, Crystal says he killed his father with his bare hands, etc. Hands represent people’s guilt in this world. For most characters, having their hands cut off is a form of punishment, but for Julian, it is a kind of relief. See, it is highly implied that he was forced into having an incestuous relationship with his Mother, and that she then used this relationship to gain power over him and get him to do things for her, like kill his own father. This is all suggested by the fact that Crystal talks about the size of his penis, gropes his behind, and says to him, “if you do this for me, we can go back home, and I’ll be a true mother to you.” Julian’s stoicism, impotence, violent temper, and the fact that he keeps hallucinating that there is blood on his hands all indicates that he is traumatized by his past deeds, and that he wants to rid himself of them. So, when Julian lets Chang cut off his hands at the end of the movie, it is an act of catharsis. It is Julian finally being able to rid himself of the past. This is all indicated by the fact that Julian and Chang smile when they meet for the last time, as though this is a good thing, a form of therapy.
So, there you have it. Only God Forgives, a surreal, violent, racist, and utterly nonsensical crime thriller is actually a touching character study about a broken man looking for divine forgiveness. It’s excessive bloodshed and strange dialogue might not appeal to everyone, but the saturated neon color scheme, the gorgeous cinematography, and most of all, the themes, are what make it truly unique, and, in my opinion, worthy of an 8 out of 10. I honestly believe that this will be a picture that, down the line, film students and cinephiles will analyze and talk about. It’s beautiful, brutal, and brimming with life and subtext. And who wouldn’t want to see a film like that?
Greetings Loved Ones! Liu Is The Name, And Views Are My Game.
Today I’d like to talk to you about Mad Max: Fury Road, or as it should be known, “car crashes and explosions in the desert.” Oh yes! This dystopian action flick is very, very…loud. And not just in terms of noise. Sure, there are plenty of exploding vehicles, shouting extras, and revving engines to burst your ear drums, but the costumes, sets, and extreme action sequences will also do a good job of knocking out the rest of your senses. There is absolutely nothing subtle about this picture. Everything–from the countless extras slathered in body paint, to the cars and trucks covered with spikes and skulls, to the sets that look like the love-child of TIm Burton and HR Giger–is over the top. The only exception to this might be the acting, which, in spite of everything else, is surprisingly subdued. Basically, if you were to make a movie out of the word “exaggerated,” you’d probably get something that looks like Mad Max: Fury Road.
Now, does this mean that Mad Max is a bad film? Not necessarily. Yes, it offers nothing in the way of plot or character–the protagonist, Max, has a total of five lines, and the story, if you can call it that, boils down to a group of concubines trying to escape an evil overlord. But it’s not offensive, and by god, its visuals are truly something to behold. The stunt work, the action sequences, and the stylized sets are nothing short of magnificent. If you can imagine what the Transformers movies would be like if they didn’t have so many crass jokes, racist stereotypes, and gratuitous shots of women’s bodies, then you’ll have a pretty good idea of what to expect with this film. It’s silly, but not stupid. It’s completely brainless, but it doesn’t insult your intelligence. It’s a throwback to the early days of filmmaking, when directors like George Lucas and Steven Spielberg could blow our minds with great, ostentatious spectacles. It’s a wild ride, and one that even I, a person fully aware of it’s weak narrative and characters, was able to enjoy.
And that, loved ones, is why I have decided to give Mad Max: Fury Road a 7 out of 10. By no means perfect, this movie is a great summer blockbuster, and a sure-fire way to get the adrenalin pumping. Don’t hesitate to give it a look.