Despedida em Las Vegas

Remarkable. Touching. Riveting. Leaving Las Vegas is all of these and then some. I have not seen a film of this magnitude about loneliness and acceptance in such a while that I was in tears for much of the run time.

Nicholas Cage is Ben, a man who has lost his wife and child, throws his job away, and takes all of his remaining money to buy as much liquor as possible and "drink himself to death" in the city of Las Vegas. He has given up all hope, with no wish to live, but for one reason or another, wants a companion to share in his misery, but not try to save him. He finds this companion in a hooker, Sera, played by Elizabeth Shue. They immediately form a strong relationship based on one night of talking about their lives. Sera in particular quickly grows attached to Ben, for no other reason than she has been alone her whole life and wants nothing more than to feel that want and need by someone.

Cage won his first Oscar for his role as Ben, and how deserved it was. He was astounding, perfection, down to every single tick, the volume of his voice, the pain and tragedy buried in his eyes. I could not believe the extent of his role, the dedication and time he invested in bringing this character to life. Same goes for Elizabeth Shue, who with a simple glance at a person, she reveals her entire self, and no one even dares to notice except for Ben. This neediness is apparent, she wants to hold onto this relationship so badly, yet what makes their relationship work is total and complete acceptance of their respective decisions. He will not tell her to stop being a hooker, and she in return can never ask him to stop drinking. And it is in that factor that makes this film worth watching. To be totally accepted by those around them, to open themselves up to such an extreme.

Leaving Las Vegas is a sobering film about connections, loneliness, acceptance, and a small little island of hope that is Ben and Sera. They are two good people, depicted in a world full of sorrows and misdeeds, who latch onto each other and never let go. They were nothing but ghosts, till that chance encounter, and became each others worlds. Cage and Shue bring these good people to life in such an extraordinary way, making Leaving Las Vegas a film to be treasured and remembered for years to come. I highly recommend this film.

If Mike Figgis never made another film, and Nick Cage and Elizabeth Shue retired after making Leaving Las Vegas, they would have done so with impunity. Both actors are superb, and bring the excellent screenplay to life with the help of some masterful dramatic cinematography.

Cage plays a suicidal alcoholic who has come to Las Vegas to drink himself to death, and Shue plays the unexpected problem - a prostitute who falls in love with him. The only reason this film did not receive a ten from me is the voice-over technique which was tastefully minimal, but, in my opinion, the only mistake the director made. It does help to provide closure, but I felt that closure was an unnecessary compromise here.

This is not an entertaining film, and in truth, I am surprised by its popularity among typical audiences. It is a serious film, and a work of art, but fun is not to be found here. DO NOT see this film if you dislike feeling emotionally drained and ethically challenged, and DO NOT see it if you are very prone to boredom, or easily offended by sexual violence, substance abuse and the horror of daily life on the street.

This is an intensely sad film about love shared by people who are caught in the gravity of their lives and can not escape. It is also a story of redemption and respect, found in improbable places. It is NOT a fun-filled frolicking romantic comedy, but rather, the opposite, and it achieves a beauty, dignity and power almost unique among films treating such starkly real and disturbing subjects.

Not unlike John Huston's Under The Volcano, Leaving Las Vegas borrows from Greek mythology, obliquely mirroring the tragedy and pathos of Orpheus' failed attempt to rescue his dead wife, Eurydice, from Hades. Mike Figgis obliges us with a helpful hint in the scene where Nicolas Cage gives Elizabeth Shue a present of earrings: Greek cameos.

As in the ancient tale, love challenges the inevitability of death, although, in the case of LLV, roles are upended and sometimes blurred, and Orphean references are either thinly disguised, or non-specific to the point of being thoroughly sublimated. Academic, to be sure, but completely acceptable as long as LLV can sustain itself and remain engaging. And it surely does, thanks to Figgis' intelligent script and direction, Cage's role as a down-and-out writer and his protracted self-destruction, and Shue's portrayal of a lonely hooker, lifting that old bromide beyond what could have been routine, to a level not seen since Jane Fonda's character in Klute. Excellent performances all around.

With all that said, this film is not for everyone (in particular those who only respond to gratuitous sex, car chases, and mindless pyrotechnics). The lurid depictions of despair, self-loathing, and violence could put off even the most hardened social worker. In my mind's eye, I could see psychiatrists amongst the theater audiences, furiously jotting down their observations. Understandable; the two principal characters are, in the common parlance, screwed up. One cannot cope with failure, so decides to opt out, while the other does cope, but only barely, existing along the ragged edges of what passes for society in Nevada Hell. These details, though, tend to outline and, indeed, strengthen the true heart of this film: Sacrifice and Unconditional Love.

If this film is not for everyone, then who is it for? Those with real life experience and the maturity gained thereby. Those with strong emotional constitutions. Anyone appreciative of impassioned performances. Freudians. Alcoholics, recovering and otherwise. Pimps. Priests. Classicists. Petty whiners in need of perspective. And, more than anyone else, couples who plan on breaking up. In sickness and in health, 'til death do us part. 9.5 out of 10.

"Leaving Las Vegas" is an insightful, harrowing experience about the binding forces of true romance, the power of encouragement and compassion, and the tragic effects of alcoholism. The performances are absolutely astounding: Nicholas Cage delivers one of the most unforgettable, genuine, and human performances ever captured on film (a well-deserved Oscar for every reason), and Elisabeth Shue, as his soul provider and protector through the trauma of his alcoholic turmoil is sentimental, passionate, and definitely deserving of the Oscar for Best Actress in 1995, providing us with the eye of Ben Sanderson's heart and soul, as his equally troubled lover who has pledged to stay with him through tears and trials. Director Mike Figgis is intensely effective in following the many turmoils of Sanderson as he copes with terminal alcoholism, even going so far as to declaring he will "drink himself to death in Las Vegas", and the effects of his struggle upon his functions, health, and spirit, as well as the corresponding attributes of his loyal lover, Sara. I'm certain that anyone who has experienced the turmoil of alcoholism or has been deeply involved with such an abuser will gravely appreciate the realism and depth of this film to address the egregious effects of drinking constantly, and how this alcoholism tears many lives literally apart. I was horrified by Sanderson's dependence upon alcoholism as a substitute for happiness and control, and Nicholas Cage's uncanny human performance, with all of his appropriate, convincing twitches and erratic movements, enhanced the compassion and torment I felt for this character, who has literally surrendered his life to this terrible disease of alcoholism. We gasp in horror as we see Sanderson taking a shower with a bottle of gin in hand, and trembling to the refrigerator for a bottle of vodka: these are the true, tragic symptoms of alcoholism, and this film does an excellent job in addressing them. A brilliant, tragic, yet extremely essential study of the disease of alcoholism and how it can destroy every aspiration, every desire, and every state of consciousness we have within ourselves, when we are constantly craving "one more bottle of vodka" 24 hours a day, 7 days a week... Nicholas Cage delivers one of the most heartfelt and eerily convincing performances in the history of film, and this is one lamentable, subliminal look at one of the saddest and unnecessary addictions in humans: striving to either enhance, better, or in this case, destroy their lives in constantly drinking intoxicating and deadly substances. Sanderson to Sara: "You can never make me stop drinking"--- the sad, yet frighteningly real state of mind of a disparaged, hopeless, alcoholic. **** out of ****

Having recovered from the mind-numbing Heat, a supposed character study, I was eager to sink my teeth into a different 1995 gem and I found it here with Leaving Las Vegas. With only two important characters, the entire film rests heavily on the shoulders of Nicolas Cage and Elisabeth Shue, and neither of them disappoint.

Of the two, Nicolas Cage is the Oscar winner and the truly deserving one at that. He is simply hypnotic as Ben Sanderson, an alcoholic so far gone he doesn't even remember why he wants to die. His withdrawal scenes are so real they are upsetting, whereas his drunken charisma is so real its almost funny. The balance that Cage strikes really highlights how tragic his character really is. He conveys hatred and rage and loneliness and despair, and you will be so sad yet so hooked that its impossible to look away. Elisabeth Shue gets off to a slower start than Cage, but she is still an endearing, emotional character, capable of great things.

The writing is very good, giving Cage the perfect, pitiful dialogue in order to serve his woeful character, and even throws in a hypnotic monologue or two. The best thing that Figgis achieves in this film is his cruel and deliberate intersplicing of mood-killing incidents (invariably caused by alcohol) between the moments of love and passion that Shue and Cage share. It is a relentless reminder that their love story is completely doomed. Sting's My One and Only Love is all over this film, which I thought was a very good choice, in addition to the beautiful and haunting score.

The final act focuses a little too much on Shue and not enough on Cage, and whilst their final scene together was appropriately pathetic to suit the tragedy of the film, I couldn't help but feel less engaged. I also didn't enjoy Shue's constant commentary, given that it doesn't really go anywhere.

But between the raw passion of Nicholas Cage and the uncompromising guiding hand of Mike Figgis, any complaints I could ever have otherwise found in Leaving Las Vegas are completely washed away.