If the trailer led you to believe that Martin McDonagh’s second directorial and screenplay effort is an action-packed thriller with some comedic elements, think again. This is not an emotionless story featuring cliché dialogue and some sly wit. It’s heavy on dialogue and dark humor, action scenes are few and far between, and the setting is, of course, in Bruges.
The story is set in present time and opens with a monologue from the main character, Ray (Colin Farrell), who states that he and his partner/friend Ken (Brendan Gleeson), both hit-men for the mob in London, were instructed to hideout in Bruges after a mishap on the job.
After arriving, our main characters learn that they’ll be hiding in Bruges for an extended time. Over the next hour, viewers watch as our characters involve themselves in what feels like episodes of a sitcom or scenes from a play. Audiences may feel the dialogue is Tarantino-esque as they watch Ray and Ken discuss why so many dwarfs commit suicide, the ethics involved in killing a "lollipop man," and why Burges is/isn't a "shithole." Their occupation as hit-men is almost irrelevant for the first two acts, except for a few instances where Ray displays his knack for violence.
Looming over the characters is Harry Waters (Ralph Fiennes), Ray and Ken’s boss from London, England. It is unknown at the beginning why Harry wanted our characters to go to Bruges, but his insidious and confusing plan is revealed later. This leads to an exciting, if not abrupt third act climax.
What truly makes the film is the acting of Farrell, Gleeson and Fiennes; although, Fiennes' talents are limited due to the script. Don’t worry—no plot spoilers ahead. Farrell, fresh out of rehab and running from anything related to 2006’s Miami Vice, broke new ground with his role as a neurotic Irish hit man. Gleeson’s portrayal of Ken can be equated to Jiminy Cricket from Pinocchio. He acts as a conscience for both Ray and Harry. McDonagh also manages to work in racists, druggie dwarfs; Belgian drug dealers and hookers; and fat, coarse Americans. None of these comedic elements are forced and McDonagh manages to tie them all to the main arc (plot), while also leaving audiences laughing.
The film displays more heart than the trailer leads audiences to believe. Ray struggles to cope with a fatal mistake he made on the job. Ken, ironically, becomes something of a father figure for Ray who seems to transcend from a self involved child to a socially aware man.
What’s great about In Bruges is that the director manages to perpetuate the aesthetic qualities of the setting amidst all the violence and vulgarity. McDonagh highlights some of the more scenic areas in Bruges, which are often referred to as "fairytale place[s]" by the characters. His screenplay combined with Carter Burwell’s (Burn After Reading, Fargo, etc.) score will stir your emotions, evoke more sympathy for a hit man than one might have imagined, and keep audiences laughing well into the climax.
With so many elements that worked, McDonagh almost imploded the film with the third act climax. So much of the screenplay included witty dialogue and fluid transitions, but the climax seemed to transcend from Pulp Fiction to Lethal Weapon. The end seems to crawl to the credits on the strength of the first two acts.
Some of the humor in the film could be considered, well, it is, offensive or immature to some viewers. Everything from gay jokes to a simile using a fat, “retarded black girl" on a seesaw are callously said, but viewers must remember which characters are making the jokes and what personality traits have already been established by those characters.
The negative aspects still do little to take away from the overall quality of the film.
Like so many other great films, In Bruges was embraced by awards ceremonies after being dismissed by audiences. Such awards included a best screenplay nomination from the Academy Awards and a best actor win for Colin Farrell at the Golden Globes.
Rating: 7 out of 10
Check out this scene from the film:
Next up - City of God
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