Already appearing to be one of the most polarizing films of the year, Only God Forgives will likely trigger debate for a long period of time. Nicolas Winding Refn brought a lot more attention to himself as a director after making Drive, one of 2011's most memorable films. People who otherwise wouldn't have given a damn about him started to take notice and anticipate whatever project he became attached to next. Only God Forgives triggered excitement early after some photo stills from on set found their way onto the internet. Ryan Gosling reuniting with Refn after Drive only added to the anticipation.
The film has a plot, but it's not as important as the style and execution, which I automatically became attached to from the first frame to the last. You see, it's with this film where Refn seemed to be trolling his fans who fell in love with Drive. Instead of the straightforward approach that made Drive easy to follow, Only God Forgives gives a big "F YOU" to conventional ways of telling a story. I've heard some people describe the film's atmosphere as "nightmarish". Well, none of my nightmares have ever looked this good. "Hellish" is the term I would use to describe it, and even that isn't entirely doing justice to what Refn and cinematographer Larry Smith have accomplished here. The film's mood isn't entirely unlike that of another unusual film released this year - Spring Breakers - as they're both permeated by a quiet intensity that could make even the most fearless viewer squirm in their seats. The film has the look and feel of a frightening horror picture where evil lurks around the next corner and happiness is practically nonexistent.
Using a variety of colors, from dark red (the primary color) to light blue to gold and yellow, as well as an effective use of shadows, which contrast well with said colors, the film looks utterly fantastic, delivering a visual experience that is reason enough to watch the film more than once. Refn's choice of shots is smart and sophisticated as well, going so far as to remind me of Kubrick, as extended shots of characters looking into the distance and at each other can be found throughout, but without taking away from the details of the scenery. Refn fully realizes the effect of quietness and how to maintain a consistent atmosphere that keeps the viewer in a paralyzed effect. I can just imagine what it must be like to see one of his films in a darkened theater; that anticipation of violence erupting at any moment can be felt with assuring affirmation.
Ryan Gosling and the rest of the cast hold it all together like glue, with Gosling essentially playing a more mysterious version of his character in Drive, a drug smuggler by the name of Julian. Julian doesn't even react to the news of his brother's death, which draws attention from his mother Crystal (played splendidly by Kristin Scott Thomas) in one table scene that showcases Refn's eye for contrasting colors and flair for making the most out of an otherwise simple scene. Mai (Ratha Phongam), a prostitute involved with Julian, is merely a pawn in a nasty, cruel game of sadistic players looking to avenge the death of an immoral rapist/murderer. Chang (Thai police lieutenant), is a man that sees himself as immortal and without flaws. This God complex instills in him a level of confidence that helps fuel his inner rage. He's also the type of guy nobody would want to f-ck with, and Julian soon realizes this after he's beaten to a pulp in a one-on-one boxing match with Chang that damn near ends his life. It's almost as if Julian's mother has to convince Julian to continue his quest for vengeance since he's so emotionless and that fight seemed to take a lot out of him. Of course, him being told by his mother that Chang is out to get her after finding out that she ordered a hit on him also may have helped.
This makes one singular moment at the end all the more unusual, as Julian commits an act of redemption that displays his humanity before giving up what I can imagine would be very important to any human being. Like with Tony Montana, the thought of killing a kid proves too much for him, and in the process of killing his ally Charlie and seeing the dead body of his mother, killed by Chang, comes to terms with the guilt of his lifestyle, and in a sequence that may or may not be real, surrenders his hands to Chang. The ending is a real piece of gold, as Chang returns to his harmless hobby of singing karaoke after committing such cruel, violent acts, and in the process, all seems to dwindle down in peace, as our anti-hero is nowhere to be found.
Cliff Martinez's score further illuminates the despair and constant death that surrounds the environment the film takes place in. And it's kind of funny when you consider just how beautiful the whole thing looks. Dialogue isn't necessary in a film like this which has such a calculated and developed style. The feeling the style gave me is that of love, hate, confusion, warmth, coldness, fondness, intensity, and much, much more. When a film triggers so many different emotions in you over the course of less than two hours, you know it's done something right.
Many people will hate this film and toss it to the side as something pointless and boring, but understanding that there's so many different ways in utilizing the language of film, and that not everything needs to be straightforward or accessible, this is a film that I easily took a liking to. It helps that I didn't expect Drive 2.0 and it also helps that I got exactly what I was looking for, a film driven purely by great, sophisticated, and refined style.
The film has a plot, but it's not as important as the style and execution, which I automatically became attached to from the first frame to the last. You see, it's with this film where Refn seemed to be trolling his fans who fell in love with Drive. Instead of the straightforward approach that made Drive easy to follow, Only God Forgives gives a big "F YOU" to conventional ways of telling a story. I've heard some people describe the film's atmosphere as "nightmarish". Well, none of my nightmares have ever looked this good. "Hellish" is the term I would use to describe it, and even that isn't entirely doing justice to what Refn and cinematographer Larry Smith have accomplished here. The film's mood isn't entirely unlike that of another unusual film released this year - Spring Breakers - as they're both permeated by a quiet intensity that could make even the most fearless viewer squirm in their seats. The film has the look and feel of a frightening horror picture where evil lurks around the next corner and happiness is practically nonexistent.
Using a variety of colors, from dark red (the primary color) to light blue to gold and yellow, as well as an effective use of shadows, which contrast well with said colors, the film looks utterly fantastic, delivering a visual experience that is reason enough to watch the film more than once. Refn's choice of shots is smart and sophisticated as well, going so far as to remind me of Kubrick, as extended shots of characters looking into the distance and at each other can be found throughout, but without taking away from the details of the scenery. Refn fully realizes the effect of quietness and how to maintain a consistent atmosphere that keeps the viewer in a paralyzed effect. I can just imagine what it must be like to see one of his films in a darkened theater; that anticipation of violence erupting at any moment can be felt with assuring affirmation.
Ryan Gosling and the rest of the cast hold it all together like glue, with Gosling essentially playing a more mysterious version of his character in Drive, a drug smuggler by the name of Julian. Julian doesn't even react to the news of his brother's death, which draws attention from his mother Crystal (played splendidly by Kristin Scott Thomas) in one table scene that showcases Refn's eye for contrasting colors and flair for making the most out of an otherwise simple scene. Mai (Ratha Phongam), a prostitute involved with Julian, is merely a pawn in a nasty, cruel game of sadistic players looking to avenge the death of an immoral rapist/murderer. Chang (Thai police lieutenant), is a man that sees himself as immortal and without flaws. This God complex instills in him a level of confidence that helps fuel his inner rage. He's also the type of guy nobody would want to f-ck with, and Julian soon realizes this after he's beaten to a pulp in a one-on-one boxing match with Chang that damn near ends his life. It's almost as if Julian's mother has to convince Julian to continue his quest for vengeance since he's so emotionless and that fight seemed to take a lot out of him. Of course, him being told by his mother that Chang is out to get her after finding out that she ordered a hit on him also may have helped.
This makes one singular moment at the end all the more unusual, as Julian commits an act of redemption that displays his humanity before giving up what I can imagine would be very important to any human being. Like with Tony Montana, the thought of killing a kid proves too much for him, and in the process of killing his ally Charlie and seeing the dead body of his mother, killed by Chang, comes to terms with the guilt of his lifestyle, and in a sequence that may or may not be real, surrenders his hands to Chang. The ending is a real piece of gold, as Chang returns to his harmless hobby of singing karaoke after committing such cruel, violent acts, and in the process, all seems to dwindle down in peace, as our anti-hero is nowhere to be found.
Cliff Martinez's score further illuminates the despair and constant death that surrounds the environment the film takes place in. And it's kind of funny when you consider just how beautiful the whole thing looks. Dialogue isn't necessary in a film like this which has such a calculated and developed style. The feeling the style gave me is that of love, hate, confusion, warmth, coldness, fondness, intensity, and much, much more. When a film triggers so many different emotions in you over the course of less than two hours, you know it's done something right.
Many people will hate this film and toss it to the side as something pointless and boring, but understanding that there's so many different ways in utilizing the language of film, and that not everything needs to be straightforward or accessible, this is a film that I easily took a liking to. It helps that I didn't expect Drive 2.0 and it also helps that I got exactly what I was looking for, a film driven purely by great, sophisticated, and refined style.