Bad Lieutenant : Escale à la Nouvelle-Orléans

Bad Lieutenant, The: Port of Call: New Orleans (2009)

**** (out of 4)

When it was announced that Werner Herzog would be remaking Abel Ferrara's 1992 film there was all sort of outrage with fans asking how anyone could remake a film as far "out there" as that. I think most of these complaints were from people who didn't know Herzog because if you did know his work you'd know he wouldn't just simply remake something. As was expected, this version has very little to nothing to do with the 1992 film so people can walk into this expecting something original. The film follows a simple storyline of a Lieutenant (Nicolas Cage) who is investigating the execution deaths of five people, including kids. He begins cracking down on known drug dealers in the area but he's also doing battle with his prostitute girlfriend (Eva Mendes) as well as his drug addiction to cocaine and heroine that is getting bigger by the hour. It's funny but the screenplay to this film probably would have fallen through the cracks had someone like Herzog not been behind the camera. That's not to say this is a bad screenplay but the entire investigation and all the side plots are pretty basic but it's thanks to Herzog's vision and Cage's performance that this film will go down as the wacky, over the top ride that it is. I didn't find the film flawless like some as a good ten minutes could have been cut out of the second act but the film is still very impressive. The important thing to remember going into the film is that you're about to see a very dark comedy so I guess one could call this the greatest comedy ever made about a drug-addict cop. Cage is what makes the movie because his performance here will rank as one of the greatest of his career. I think it has become easy to make fun of Cage and throw cheap insults at him but it's important to remember that when he's on fire he usually can't be touched by anyone and that's certainly the case here. Is he over the top? Sure but he's suppose to be. His performance is so dead on that you can help but look at him and feel that you're really seeing someone going through a major addiction. Cage's entire body seems to change shape throughout the movie as he grows more and more sick. The way Cage laughs at someone being called "G" is just priceless as is a terrific scene between he and an iguana. The supporting cast is very impressive as well with Mendes turning in a fine performance as the drugged out hooker, Val Kilmer as a psycho cop, Fairuza Balk as another cop and the always reliable Brad Dourif as a bookie. Herzog's vision is all over this thing and I really loved the overall look of the movie. I loved how the start of the film has the camera constantly moving, which to me was to imply the state that Cage's character was in with all the drugs. The film is a dark comedy and for the most part both Herzog and Cage go full steam to bring out the laughs and this includes a hilarious sequence with a couple old ladies with one on oxygen and others with Cage seeing things that aren't really there. The terrific cinematography and nice music score also add a great deal as do the worn down streets from the post Katrina days. This certainly isn't among the director's greatest works but it's still something very fresh and original and it really stands out compared to the other type of films being released today.

One thing you can always count on when you go into a Werner Herzog movie is that you can always expect to find a story surrounding a very bizarre individual. With Bad Lieutenant, I saw both Herzog and Nicholas Cage in a new light, or rather a new darkness. Labeled as a black comedy, there should be more emphasis on 'black' than on 'comedy'. The film bears a strong resemblance to the thematically surreal and contrived nature of a Coen Brothers film, but the difference is that this one is more character driven than plot driven. More specifically, this is a film that lives on one performance. Nicholas Cage for the first time in a while has done something worthy of recognition, possibly even award worthy.

He plays New Orleans cop Terence McDonagh, recently promoted to Lieutenant. The film follows his latest homicide investigation. Due to a back problem and a drug addiction he is grumpy and unstable. He is sort of an anti- American hero, and the film concludes on a very bizarre note but clever anti- conventional/Hollywood manner.

Though not Herzog's best, it is certainly one worth watching. With each film I see from him, past or present he continues to intrigue me, but I think in this case, it might be Nicholas Cage who deserves the most credit.

Nic Cage is a living, breathing cartoon character, both as a person and as an actor, and the best filmmakers seem to grasp intuitively that the best way to have Nic in a movie--the only way, really--is to first be sure they've got for him an appropriately comical, ironic, melodramatic or surreal story. This one happens to be all four, to a serious degree. It also features compelling and offbeat relationships and unexpected, wild action, all of it slyly hypnotic and even gripping.

It'd be fair to describe this film as a tense crime drama that's regularly relieved by comical gags if it weren't for the fact that the perfectly timed humorous beats are so damn hysterical--and so weird. The outrageously absurd, profoundly wacky moments so thoroughly overwhelm the more somber, dark and disturbing moments--not in quantity but in sublime intensity--that they thoroughly dislodge us from any dependable emotional or psychological perch and it's hard to know with any confidence from instant to instant what we're expected to feel or think, which, apparently, is very much intentional. We're being toyed with, and not coyly but blatantly, maybe even wickedly.

The director, Werner Herzog, is a connoisseur of contradiction and paradox as he's masterfully demonstrated in many of his films, such as the bleakly absurd "Aguirre, the Wrath of God," or the incredibly preposterous "Fitzcarraldo," or the often delightfully campy "Nosferatu the Vampyre" where subtle humor is so effectively collided against genuinely poignant drama. But this one's on a whole different level, and it's entirely the fault of Nic Cage and his nearly demented, turbocharged performance as an increasingly crazed, spiraling out of control, drug addicted crooked cop.

As his character's condition deteriorates and his affliction and corruption possess him to the core not only does Nic begin to distort his appearance and posture to match his deepening pathology but his voice as well becomes increasingly warped as it grows more high pitched and nasal, as though the mounting stress is compressing him like a squeeze toy. It's beyond silly but it somehow works, at least on the level of his character's distorted, perverted perspective.

Often the soundtrack is emphatically offbeat, quirky and disruptive, working in counterpoint to the pace and tone of the unfolding action. But the musical score might then quickly shift to more traditional rhythms more in sync with the apparent mood of the scene, which only renders those moments all the more unsettling. It's a very subversive technique inciting a creeping, crawling uncertainty deep within the subconscious, at a primal level; a sincerely surreal experience punctuated so ridiculously, so blatantly by the hallucinogenic appearances of those damn freaky iguanas. So freaky...

It's disorienting--in the best way--to be so constantly jerked, jolted and yanked around by a movie, especially when it's all being done so well, so confidently. Werner Herzog has crafted a sincerely bizarre, wild ride; a rare and special cinematic experience that will appeal to--and thrill--aficionados of superior, if idiosyncratic storytelling. Very much recommended above all else for its uniquely unorthodox, unhinged vibe.

Excellent movie which could have gone so horribly bad, in the wrong hands. Brilliant direction from Herzog, and skillfully let's Nick Cage, loose in his character (only previously seen in 'Face Off') and in exactly the same way Keitel, was used in the original (Abel Ferrara) 'Bad Lieutenant' film. Thankfully though 'Port of Call' has a completely different story and enough fresh ideas to make it a very worthy companion piece. This one turned out way, way better than expected.

Nicolas Cage - an Oscar winning actor in Werner Herzog's movie "Bad Lieutenant" which has nothing to do with Harvey Keitel's 1992 film, goes absolute crazy in some scenes, but not as furious as he can. These limitations can be for good, to keep movie's tone in check. And there are no reasons to break drama genre and go bizarre into even more comedic and crazier tone. Because comedy is a pretty usual thing in this flick. Cage's character Terence McDonagh is a drug addict, very reactionary, he is frightening at times, because of what he is capable of, but inside he is a good , selfish person, who just seeks a way out. He has this back problem, taking pills, which aren't helping, he basically takes his own medicine ,using cocaine mostly with his prostitute girlfriend Frankie (Eva Mendes). After a group homicide of several immigrants Detective McDonagh is assigned to investigate. This and his personal problems lead this character into an interesting ending. Watching the movie you can't dislike Terence, the direction is really effective to make us care about, at first look, a scum like McDonagh. The plot goes many unexpected ways. Thanks to screenwriter William M. Finkelstein, who definitely wrote an engaging script.

After loosing the main witness for immigrant's case, McDonagh goes rogue, uniting with the drug-boss, to make some quick money in order to pay debts and save his girlfriend from what she got herself into. That lead to a group of absolutely unexpected events that are not to be estimated anyhow. Nic Cage's character is that chemical element, provoking those events as he becomes a completely different person throughout the film.

The humor in this film is one special part that I enjoyed the most. Not only McDonagh is a guy who threatens helpless old people, but does it with style, and with script's emotional help by making those old people not only victims but villains in that scene, which is it absolutely funny, because emotionally you expect and want McDonagh to do so.

There no much action in this film, at some point it becomes a little fantasy of a drug addict. Moments of him, seeing dancing sole and stuff like that makes this movie even more bizarre, but Herzog doesn't overuse scenes like that, so to make this movie a good combination of drama, comedy and addict's fantasy.