Man on Fire

When most people today hear the title "Man on Fire", they probably think right away of the 2004 film starring Denzel Washington and Dakota Fanning. Unbeknownst to many of them is that film is in fact a remake of a gritty, disturbing, and above all, unusual European film of the same title. The 1987 version of "Man on Fire" is probably a film that I would have to consider schlock. From the looks of it, it's budget was fairly decent for it has good acting, good effects, and good sound design. But the reason why it falls under the category of schlock is because of its very unusual and sometimes, inferior styles. This is a film that will meet viewers halfway. Some people will enjoy it just for what it is. And the other half will simply despise it.

For me, "Man on Fire" was in deed unusual and strange and definitely not the most creative film ever made. But while that is true in my personal opinion, there is another factor that I cannot deny. And that is the factor that while the film was a bit shoddy, it was highly entertaining and in a way, a bit more complex and more compelling than the 2004 remake. It has some gorgeous scenery, absolutely wonderful acting, a fairly decent screenplay, and other things that I simply find attractive in a motion picture. Scott Glenn was absolutely flawless as Creasy and he pulled off the character as being mysterious, cold, and unusual. He wasn't quite the tough guy as Denzel Washington was in the remake. To be honest, I wanted him to be tougher, but it kind of worked out. Jade Malle, an actress who unfortunately did not do much acting after this debut, was fairly good as Sam. Yes, she wasn't the best child actress in the world and not a patch when compared to Dakota Fanning, but I found her to a fairly decent addition to the cast. And Joe Pesci, while definitely one of the unusual aspects of the film, pulled off a fairly good performance as well.

Action sequences in "Man on Fire" were fairly decent. Many of them were flawed, but they were, for the most part, thrilling. There was one part that I personally felt did not work out. When one of the bad guys gets shot in the stomach, he just kind of stands there until he finally starts to slowly fall over. The camera doesn't change angles or anything like that to create a more distressful feeling. But other than that, the gunfights and action sequences were intense, gritty, and bloody. And the gore here is used at a controlled level. And what I will always remember about this film was that unlike the 2004 version, there was a scene here that just made me jump.

So what doesn't work in "Man on Fire"? Basically, it's just a few aspects of the film's style. Some parts of the film I think could have used a few more takes. The scene where Creasy finds the first of the kidnappers probably could have been done differently, for I found it to be too disturbing and uncomfortable. And like I said, there are some wonderfully talented actors and actresses in this film. Jade Malle's parents were portrayed wonderfully, unfortunately, their characters are what I would call stick figures. Just in the background, so that you know they're there. The ending for the film is a mysterious one of the highest order. For a while, it doesn't make any sense. And I think the explanation of the ending just depends on an individual viewer's point of view. Maybe that's what the director intended.

The original 1987 "Man on Fire" is not the kind of film for everybody. Some aspects of it are inferior to the 2004 remake, but other aspects exceed well above it. Personally, I might prefer this version for its colorful acting, its not-so-gangster style, Scott Glenn's wonderful performance, the great music score, and just the great thrills of a 1980s European thriller.

As has been said, when people think of the title 'Man on Fire' one immediately think of the far better known 2004 film. Which is actually a remake of this film from 1987. This version was not well received by critics at the time and is a poor adaptation of the book (almost unrecognisable and the book's author AJ Quinell disliked it intensely for that reason), but to me it is a perfectly serviceable film in its own right.

One of those times of me going against the general critical consensus. Tend to be along the same lines and on the same page as critics, who tend to be unfairly bashed on the internet for no reason, but there have been times where a panned film is not that bad to me and an acclaimed film considered not that good or not doing much for me. The former is an example here. 'Man on Fire' is not a great film exactly and can totally see where the critics are coming from. Personally do share some of their criticisms. However, 'Man on Fire' does have a lot of things in its favour, so if asked whether it is that bad my answer would be no. Not a lot is done exceptionally, nothing also is done disastrously.

'Man on Fire' is an interesting film visually. The locations are stunning, especially the palazzo, the industrial loft and the boat dock, and the film has some of the best location shooting from personal opinion of any film from that year. Not perfect by all means, some of the editing is choppy and incomplete-looking and count me in as another person or didn't see the need for the slow-motion, which has very rarely been a favourite camera technique of mine in film. The music is dynamic and haunting.

The script has some nice tension and, contrary to what some critics have said, it does have wit and coolness (especially Scott Glenn's lines). The story could have been better, the build-up of the first half tends to be slow and take too long, some of it is routine and other parts forget to make sense and come over as ludicrous. However, the second half generally really picks up the momentum, fun and suspense levels, leading to an exciting and touching ending.

Don't agree that it completely lacks emotion, though there could have been more and it does for my liking come too late. The action mostly (a few routine moments) is gritty and suitably uncompromising without going unnecessarily over the top. The direction has been criticised, can understand as it is sluggish to begin with but there is a real sense that Chouraqui is more comfortable.

Scott Glenn is an intensely charismatic lead and carries the film brilliantly. Jade Malle is more charming than she is irritating, which was great. Her and Glenn's chemistry is the heart of the film and it is dealt with a believable amount of charm and that it developed gradually rather than them hitting it off straight-away was a good move. In support, a fun Joe Pesci and sinister Danny Aiello (despite an inconsistent accent) stand out.

Not everybody comes off well, more to do with screen time than performance quality. Jonathan Pryce and Brooke Adams just have too little to do to make much impression, Adams in a role little more than the smallest, blink-and-miss of cameos is particularly wasted.

In summary, not a bad film and has enough to not make it fizzle but some elements bring it down from being on fire. 6/10 Bethany Cox

You'd have to dig a bit to discover that Man On Fire with Denzel Washington is actually a remake, or rather another version of a book that's out there somewhere, but there is indeed film from 87' bearing the same title and basic plot outline, albeit with a heavy dose of melodrama. Swap out Denzel and Chris Walken for Scott Glenn and Joe Pesci, Mexico City for Italy and Tony Scott's neo-punk visual aesthetic for a more stone-faced, straightforward approach and you'll have some idea. It's a passable film, but instantly pales with any comparison to Scott's outing, which is a masterpiece and one of the best films of the century. Glenn is Creasy, a mopey ex CIA soldier who gets a job from buddy Pesci protecting a wealthy businessman (Jonathan Pryce) and his family, mostly driving their precocious young daughter (Jade Malle) around. The two are rocky at first, begin to bond, she's kidnaped and Creasy wages war on the criminals who took her with an arsenal of firepower provided by Pesci. At ninety minutes it's a little too short for any of this to be developed properly, or proportionately so to other elements, but it works well enough. The strongest bits are the early scenes where they make friends, brought to life by Glenn's warm smile and Malle's emotional curiosity. The final act of revenge feels oddly rushed, awkward and too overblown to justify the lack of action we get, it should have been more hot blooded and sustained. It's still a decent piece though, with the distinct cast doing fine work, especially Pesci who is volatile and unpredictable, almost stealing the film from Glenn. Nothing compared to Scott's version, but worth a look.

Seems to me that the reason why this movie isn't liked and known any better is because the world was not really ready yet for a this sort of action movie, at the time. It's more the sort of action-thriller we are accustomed to of seeing now days, with a better- and more slow build up to it. So the movie was actually ahead of its time and I could understand Tony Scott's interest in this movie and why he decided to make a remake of it, back in 2004.

It's definitely not an usual revenge flick. It seems more focused on its characters and drama really but this of course is not necessarily a bad thing. It actually makes this movie a pretty refreshing and original one within its genre. And having said that, it's not like the movie is all drama. It of course is still being filled with plenty of straightforward action, in its second.

And you would think that this is when the movie becomes truly good and interesting. However in this case I have to say I liked the first half, so its drama and buildup, better than the second, more action filled, one. I just liked the story and far slower pace of the movie its first half way better. It was a genuinely good movie, while its action part comes across as far more standard and the story suddenly got pushed to the background. Besides, director Élie Chouraqui was obviously far more at ease with telling a story than at handling the action really. It's still good and fun enough action all but it just still feels like the second half of the movie is doing a good job at destroying what the first half of the movie had been building up. In that regard this movie is totally the opposite of its remake, in which the second half and all of its action parts were its highlights.

With its pacing and buildup this definitely feels more like a foreign movie, which is not all that surprising really, considering that it had a French director at the helm. But this approach is actually what makes the movie work out as something special and refreshing. I however don't think simply just everybody will be able to appreciate this approach. especially of course when you are expecting a more straightforward action flick.

And for such a low key movie, it definitely has a great cast in it. Scott Glenn, Joe Pesci, Jonathan Pryce, all in one movie, that's pretty awesome! And there are all really right at place within this movie as well. Scott Glenn is a great leading man to have, when the main character is supposed to be a grumpy, tough guy, with his heart still at the right place.

Maybe it's only just a half successful movie but it's still really worth giving a go!

7/10

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Although several films are entitled "Man On Fire", this one (1987) has Scott Glenn playing the lead. This precision and talented actor has accomplished many a role in which he so personifies and brought to life the living essence of his character, that few can deny his superior ability. So much so, when we view any performance he exhibits, he is truly remarkable. Much the same can be said for the gifts of Europe's Elie Chouraqui. He proves to be an adroit, and successful director. With the combined talents of both and then add Joe Pesci as David, Jonathan Pryce as Michael, Paul Shenar as Ettore and especially Danny Aiello as Conti, the film becomes a unique stage upon which abundance talent is configured to provide an explosive outcome. Interweaving, both classic literature and stirring quotes between Hero and his young charge for whom he has been assigned as bodyguard, it's hard not to picture a restrained tiger on a leash which had been wounded and left for dead. As a result, it convinces this audience member that at anytime during the dark, moody and poignant tale, the screen will detonate and shake the foundations of the theater. Instead, Chouraqui restrains Scott and his pent-up volcanic anger until the climatic finale which is both dynamic and emotionally touching. All in all, a great vehicle for Glenn and his acclaimed resume. ****