Nachdem er doppelt gekreuzt und ins Gefängnis geworfen wurde, bekommt ein deformierter Gangster ein neues Gesicht und eine Rehabilitation, aber sein Wunsch nach Rache droht.Nachdem er doppelt gekreuzt und ins Gefängnis geworfen wurde, bekommt ein deformierter Gangster ein neues Gesicht und eine Rehabilitation, aber sein Wunsch nach Rache droht.Nachdem er doppelt gekreuzt und ins Gefängnis geworfen wurde, bekommt ein deformierter Gangster ein neues Gesicht und eine Rehabilitation, aber sein Wunsch nach Rache droht.
- Regie
- Drehbuch
- Hauptbesetzung
- Auszeichnungen
- 4 Nominierungen insgesamt
- Earl
- (as Jeff Meek)
- Prestige Salesman
- (as John Fertitta)
- Judge
- (as Ed Walsh)
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American actors alive today. This film proves it. He plays this
character with layers and a depth few could accomplish or would
even dare. Unfortunately, most people regard his personal life
(and abrasive personality itself) with such disdain that they refuse
to fairly judge his professional accomplishments.
Rourke plays a grotesquely facially disfigured man who's life of
ridicule, non-existent home-life, and resultant self-guilt have led
him to a life of crime. Nothing original there, I'll admit. But one
must watch Rourke's subtle portrayal to see not a man of rage, as
most actors would give, and be expected of, from the audience, but
a man quietly locked into his world of pain. The way he holds his
cigarette from the top, so as to cover part of his face; the downward
tilt of his head, eyes averted from anyone's gaze; or the curt, quiet
speaking so as not to draw too much attention. The example of
speech is in itself remarkable. Not only does Rourke affect a
severe speech impediment as the disfigured Johnny Handsome,
but he then takes on a new one as a man who is now capable of
proper diction, but who is completely unused to being able to
speak properly. And he is constant in his portrayal throughout.
The story is simple but good, driven with excellent visual editing,
and a wonderful sound track (provided by Ry Cooder), that really
sets the pacing. The cast is largely wonderful, as well, with quite a
few recognizable "stars". Forest Whitaker as the sympathetic but
driven and demanding doctor, Lance Henrikson and Ellen Barkin
in amazing performances as two completely greedy "scum-bags",
and Morgan Freeman, in a real role reversal, as a rotten, taunting
parole officer. Probably the only weak link in the cast is Elizabeth
McGovern, who's attempted Louisiana accent never holds up and
over-all acting just suffices.
This film remains a favorite of mine that I watch every now and
again, always enjoying it both for the excitingly building tension of
the story, and the great performances (and performers) littered
throughout the film. If you like this film, I also suggest "The
Elephant Man", by David Lynch (for the life-with-disfigurement
aspects), or "The Warriors", by Walter Hill, as a great, early
example of this same director's work.
8/10 Mickey Rourke at his best!
Hill characteristically provides memorable opening sequences for his films. This strength is apparent here, as details of the cast appear over the preparation for the initial robbery, cut together effectively and precisely. The director fades the colour on these opening planning scenes, and later also includes a brief and horrific flashback in black and white. There are two robberies in the film, central points about which much of the drama revolves, carried off with some flair by the participants and the editing department. There's something of the flair of Hong Kong crime cinema as the masked villains burst into shops and offices to make their killing'. Elsewhere things flag a little - especially in the unconvincing Sunny Rafe relationship, played respectively by an aggressive Ellen Barkin and the normally excellent Lance Henriksen. Sadly the character and motivations of the chief villain remains one-dimensional, and Rafe's bare-armed menace never rises above stereotype.
Sedley struggles to first rebuild his face, then his life, while courting the rather insipid Donna (Elizabeth McGovern) and hatching his master plan. Although his motivation for revenge is clear, in between surgery and larceny he rather languishes. Donna is a `nice girl': either naïve or forgiving, however one choses to see her, whose role in the final denouement is also deemed `nice work'. This vaguely pejorative epithet, as well as her ill-judged covering up for a former boyfriend, provide her character's most defining moments. Her presence fails to give Sedley the impetus he needs, and her final abduction is sadly predictable. The attempt to work up another major character, this time through the doctor-with-a-social-conscience who treats Sedley (a peculiarly be-whiskered Forest Whitaker) is only partially successful. After a brief couple of confrontations with the implacable, and splendidly named, police Lieutenant A. Z. Drones (Morgan Freeman), he disappears. On the plus side, Rourke gives a generally good performance, being especially affecting in the scene when he examines his new face. Despite the limitations of the script, and even with the affected mumble, the actor avoids dropping into bathos in this critical scene, actually convincing the viewer of his pleasure in his new identity. His convincing gratitude to those who have changed his appearance pays dividends at the end of the film, during his confrontation with the vengeful Rafe. Rafe's pummeling of Sedley's face and vicious attack on his newly-constituted features with a knife is truly disturbing, precisely because Rourke has so successfully communicated the humanity behind the criminal and surgical subject earlier.
As Drones (whose dogged perseverance reminds one of Inspector Javert in Les Miserables), Freeman is excellent. An actor whose distinctive tones and modulated performances give class to any film, he raises his part far above the lines he is given here, and goes a way in making up for weaknesses elsewhere. During his few prison scenes with Rourke, in fact, one can shut one's eyes listen to his voice, and summon up the much greater pleasures of The Shawshank Redemption (1994). It is he who recognises the reality at the centre of the film: that Sedley can change his appearance, but can never change what is inside of himself or where it will lead: ` I know what you are' he says to the felon at one point. `And we both know where you're going, don't we Johnny?' At the close of the film, after bullets have flown and dust settled, Sedly finally acknowledges this fact using an ironic phrase which implies both physical and moral assessment : `How do I look?'.
Fans of Rourke and Freeman will certainly want to see this film, although others will find there is rather less to it than meets the eye. Ry Cooder, a regular collaborator with the director, turns in a superb score full of slide guitar work, with dramatic bass lines for the action sequences. This makes one regret that the final package to which he contributed so valiantly is ultimately so unmemorable. Admirers of Hill, wanting to see one of his late urban thrillers with more interest, will be better off with Trespass of three years later.
Wusstest du schon
- WissenswertesAl Pacino was initially interested in playing the title character, and worked with the producers on developing the script, but ultimately dropped out of the project, due to script problems. Pacino felt, despite numerous revisions, they had never been able to transcend the script's B-movie qualities.
- PatzerDuring the graveyard scene, Larry "pumps" the action on a double barreled shotgun.
- Zitate
Vic Dumask: I don't know you, Mr. Mitchell. What can I do for you?
John 'Johnny Handsome' Sedley: A laundry service. Could be five million dollars worth.
Vic Dumask: That sounds illegal.
John 'Johnny Handsome' Sedley: [sotto voce] It is.
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Details
Box Office
- Budget
- 20.000.000 $ (geschätzt)
- Bruttoertrag in den USA und Kanada
- 7.237.794 $
- Eröffnungswochenende in den USA und in Kanada
- 2.437.642 $
- 1. Okt. 1989
- Weltweiter Bruttoertrag
- 7.237.794 $
- Laufzeit
- 1 Std. 34 Min.(94 min)
- Farbe
- Sound-Mix
- Seitenverhältnis
- 1.85 : 1