Corrupción judicial

Abel Ferrara has on his hands a small masterwork of one man's existence in the doldrums, and he has such a way of dealing with "the streets" as a perpetually gritty, hellish world in a movie that I didn't disbelieve it for a second. In a sense he can be compared to the likes of Scorsese, however he certainly works in a different frame of honesty in mind in depicting his lead character and those he encounters.

At the core of this extremely well made, unconventional film is the best performance Harvey Keitel delivered in the nineties, a bravado piece of work in which he bares all of the qualities that can make up the badness in the lieutenant. The Lieutenant spends little time with his kids, and when he does is hardly happy, and when he leaves them he goes into the underworld to do coke, crack and heroin, gulps down alcohol like Evian, and tries to cling onto whatever dignity he has left in betting on the Mets in the championship series.

When a startling case occurs - a nun is raped by two street kids - the lieutenant is on the scene, however fogged in his muck, and can't understand how somebody, even a nun, can forgive such a crime. This leads into the third act of the film, and this is where the work propels itself into a higher ground, mature, spiritual, and ultimately fascinating in every aspect. Overall, Bad Lieutenant is a lean, un-abashed first-person singular in a rather sophisticated delivery. We are delivered a character, like Alex in Clockwork Orange for example, who is not even a half-way decent person.

But just by the way Ferrara and Keitel bring us into his world, and the details of his existence, a viewer can start to understand that the film works on other levels besides those of a conventional "all around bad-cop" story.

Harvery Keitel does an excellent job portraying a dirty cop. This dirty cop is not only the main character of this movie but is in fact the only real character of the film. The camera leaves Keitel only once or twice through out the entire movie. As the camera follows Keitel it tells shows his character excellently as a very realistic and trouble cop. It shows his character by following him through one of his ghastly cases. It is a very realistic portrayal of a New York City's cop struggle to stop his wicked ways with a underlining religious theme.

The movie is only 98 minutes long but most likely will bore anyone who requires action and story. The content of the film earned it a NC-17 rating (My first NC-17 rental). The rating is due primarily due to nudity however it is from for a porno. I would recommend to any Harvey Keitel fans. Also recommended to anyone who enjoys character based films and as a strong constitution.

People are probably right enough when they comment that this entire film essentially hinges on Harvey Kietel's impassioned performance as the corrupt and deeply troubled lieutenant of the title. Which shouldn't necessarily be taken as a shortcoming - an engrossing lead is the one key thing that any one-man character study like this needs in order to flourish, after all. Whether sobbing, howling or clenching his jaws in anguish, or else hanging his head and sipping liquor in silence, his acting here is always raw, convincing and utterly compelling; the kind of portrayal you'd be hard-pressed to take your eyes off. The exact identity of his character is never revealed, but the title informs us he's a 'bad lieutenant', a label seemingly confirmed by his tendency to indulge in substance abuse, work up heavy gambling debts and even, on occasion, pull over a couple of young female drivers and use them as motivation for his own self-pleasure. Very lurid, and yet the way that Kietel plays him also makes feel completely human. He conveys such pain and desperation behind his each and every immoral action that they never come across as nearly as shocking or vulgar to watch as they are harrowing. It's this alone that enables 'Bad Lieutenant' as a whole to reach the true extent of its potential - what could easily be read off as a plethora of fury, drug-taking, masturbation and full-frontal nudity in practice translates very aptly into a sad and striking depiction of a despondent man who's lost his ability to see goodness in anything in life, and who's sinking ever deeper beneath the weight of all those answers being continuously sought in the wrong places. As you've probably worked out by now, this isn't exactly the balmiest movie you could spending your time with (might be wrong, but I don't think there's a single light-hearted moment to be found in the entire screenplay), but if you can bring yourself to look past the sourness on the surface and instead feel sympathy for this bad lieutenant, as Kietel's involving performance invites us to do, then you'll find some considerable power lurking in its bleakness.

So, while it's Harvey Kietel who really (and rightly) brings things together in 'Bad Lieutenant' and makes it the affecting near-masterpiece that it is, it would be unfair of me to completely overlook Ferrara's role in this equation. He's provided the context against which our centrepiece man must function - a world so run-down, sombre and nihilistic that trying to find redemption round here seems not only impossible, but practically pointless. The mood is well-set by the ever-overcast skies; killing, rape and robbery are rampant, and the Lt isn't exactly given a great deal to aspire to in his day-to-day life. Kietel and his character are admittedly the only things here that come off as particularly outstanding - the vast majority of supporting characters are really all just part of this one big daunting backdrop, with dialogue, screen time and development kept to a strict minimum in each case - though personally I look at this as being more of an additional strength than as a weakness. That everyone else around him always seems so distant only increases the overall feelings of detachment and isolation that draw us deeper into the Lt's outlook.

Christian faith and symbolism are pretty integral to the overall themes of this movie, but even being non-religious myself I find I can still get a good deal of emotional investment in it. It delivers its underlying issues - of non-judgement and the potential for goodness in even the most repellent of sinners - with acute precision, as reflected in the investigation concerning the raping of a young nun which the plot loosely revolves around. While this heinous crime only serves to strengthen the Lt's belief in the general depravity of the world around him, the nun herself has found solace in her refusal to condemn those who wronged her, viewing them instead as victims as their own confusion and despair. There are of course some fairly sharp parallels between this scenario and the Lt's own personal predicament, which any viewer who's really come to feel for him will recognise - as displeasing as some of the things he himself gets up to may be (and the way he incorporates further crime into his efforts to uphold the law), there's that challenge lying at the centre of every scene as to whether or not we're really in any position to pass judgement upon him. All things considered, is it truly a bad lieutenant that he is at heart or just, well, a sad one?

I don't imagine that everyone will quite take to the conclusion this eventually leads to (and which I'm not going to give away here), but considering just how weighty a lot of the issues it addresses really are, you never get the impression that Ferrara ever intended to come up with a cut-and-dried solution of any sorts. Instead, he and Kietel have put together a polished and powerful piece of film-making that, though it deals with some pretty disagreeable and, at the time at least, controversial subject matter, is so rich in great acting (well, one great performance, but it's easily worth the input of an entire cast) and slick atmospherics that it becomes entirely captivating. In the end, it's the surprising amount of depth and emotional muscle that it carries, and not the notorious reputation that it garnered, that 'Bad Lieutenant' really deserves to be remembered for - and remembered I hope it always will be. Another great in early 90s cinema.

Grade: A

BAD LIEUTENANT / (1992) ***1/2 (out of four)

By Blake French:

Abel Ferrara's "Bad Lieutenant" could be a solid tale of spiritual redemption if not for the pervasive material through which the film demonstrates its immorality. It contrasts the most disturbing, obscene human behavior with compassion and forgiveness, but the extreme nature of the content and the film's insistence on it's portrayal swindles the spiritual impact. For once a movie deserves the notorious NC-17 rating-the Motion Picture Association of America's most restrictive emblem placed on movies submitted for a rating-but the story contains a message that's more humble and spiritual than most inoffensive productions about spirituality.

These filmmakers may or may not realize the potential religious impact their product is capable of achieving. It's a very religious film; churches could use this to demonstrate the power of forgiveness and the strength of God's love. Unfortunately many audiences will misinterpret the graphic adult content and strong language as excessively dirty-but this is not a dirty movie. The content is necessary for the exceptional contrast to work. It displays the goodness in people through their wrong doings. Though I still wouldn't recommend gathering the kids around to watch this movie.

Harvey Keitel plays a character whom the movie calls only "Bad Lieutenant." He's at a stage in his life when human characteristics no longer matter. Filled with fury, need, and depression, his temporary remedies-sex, drugs, and gambling-no longer fulfill his hunger for pleasure. But his family doesn't care anymore. He drops his kids off for school, does bad things during the day, and comes home to collapse on the couch at night. This character does not imagine himself as anything but bad. He interrupts a grocery store robbery only to let the thieves go on a bribe. He buys drugs from drug dealers in exchange for their immunity. He stops a pair of young women in a car only to blackmail them into an unpleasant form of verbal rape.

The story takes a twist. Several low lives brutally rape a young nun. The nun, who knows her rapists, refuses to reveal their identities because she forgives them for their crime. The bad lieutenant cannot believe a victim can forgive such an atrocity. If this woman can forgive her debtors, could anyone forgive his sins as well?

Whether the bad lieutenant turns his life around I will leave you to discover. But this idea might be a side issue in the plot. "Bad Lieutenant" displays more of an interest in the dirty lifestyle of the title character than in his decision to seek forgiveness for his sins. Only during the final minutes does Keitel's character realize his choices. Surprisingly, however, the film's ending takes the easy way out in a complete refusal to look redemption in the eye. This ending blends in with the events because of stark, honest realism, but we never comprehend the character's intentions for the future.

Dark and cringe-inducing, "Bad Lieutenant" is not a fun movie to watch and don't expect to hold your popcorn down if you walk in unprepared. Abel Ferrara and Zoe Lund wrote the script looking into deep, private crevices of the human soul. They travel to places many people will find extremely uncomfortable. It's a harrowing character study portrayed through an unreserved, courageous performance. Harvey Keitel takes a huge risk here-most actors would not want such a character to follow their public image. But Keitel does not hesitate to characterize the bad lieutenant without compromise, mercy, or restraint.

Hats off to you, Harvey.

Abel Ferrara's Bad Lieutenant is one of the darkest films I have ever seen. I don't mean dark in the way that it was shot, but in the subject matter of the film. The movie is about a cop who is probably the lowest scumball in the history of modern cinema and how he tries to find redemption in solving the case of a nun who is raped inside a Catholic church. The film is very graphic and terribly depressing but that doesn't make it a bad film. It is well written, well edited by Anthony Redman, well shot by Ken Kelsch and very well directed by Abel Ferrara. The cast is pretty insignificant when you consider the whole film is about Harvey Keitel's character. Keitel is the complete center of this movie and he holds it together. His performance is one of the best in recent movie history and this film is worth watching just to see how far Keitel will go for his art.