The big-screen version of Hunter S. Thompson's seminal psychedelic classic about his road trip across Western America as he and his large Samoan lawyer searched desperately for the "American dream"... they were helped in large part by the huge amount of drugs and alcohol kept in their convertible, The Red Shark. Written by
Animator/filmmaker Ralph Bakshi tried to convince producer Laila Nabulsi to let him do "Fear and Loathing in Las Vegas" as an animated movie, done in the style of Ralph Steadman's illustrations for the book. Bakshi is quoted as saying: "Hunter had given the rights to a girlfriend of his. I spent three days with her trying to talk her into me animating it - she wanted to make a live action of it - I kept telling her that a live action would look like a bad cartoon but an animated version would be a great one. She had a tremendous disdain for animators because it wasn't considered the top of Hollywood. Hunter also could not make her change her mind. So she made the pic with Johnny Depp (who is a great actor) and got the film I told her she would get - it would have been more real in a cartoon using Steadman's drawings." See more »
After Dr. Gonzo takes over driving through the desert in the red convertible during the opening scene, the gear shift for the automatic transmission is all the way up, indicating it to be in PARK. See more »
We were somewhere around Barstow, on the edge of the desert, when the drugs began to take hold. I remember saying something like:
I feel a bit lightheaded. Maybe you should drive.
Suddenly, there was a terrible roar all around us, and the sky was full of what looked like huge bats, all swooping and screeching and diving around the car, and a voice was screaming:
Holy Jesus. What are these goddamn animals?
[swatting the air]
Huh! Huh! Huh! Fucking pigs.
Did you ...
[...] See more »
The Ralph Steadman drawings from the book are put in with the credits, along with the Gonzo & Duke in the Red Shark picture that takes up the whole screen at the end. See more »
For all those of you who decry this movie for being pointless and lacking soul, that was the point! This is an excellent movie, a true adaptation of the book, nothing more and nothing less. It is an unflinching look at the sickening excesses of a consumption based culture of America during the early 1970's, who's vacuous heart resides in Las Vegas, a symbol of greed and debauchery. The pointlessness of the movie is a metaphor for the pointless pursuit of personal gratification and greed, the true heart of the "American Dream".
If you put aside the usual assumptions about a movie, i.e. that you are supposed to care about the characters, that their needs to conflict and resolution etc, then you will enjoy it much better. This movie is a magical ride and actually works on many levels, not only as testimony to the horrors of excessive drug use, and the tacky, ugly view of the worst parts of America, but also to the failed 60's generation, a generation that thought that "somebody somewhere is guarding the light at the end of the tunnel". Drug use is simply a way of escaping your present reality, and all the drugged out zeroes of the sixties were truly lost if they thought that enlightenment and peace could come from a hit of acid. This movie takes Timothy Leary's supposition of "freeing your mind" to it's ultimate conclusion and the conclusion is that you are not actually freeing your mind, but destroying it.
Of course this movie is also fun to watch the incredible performances by Johnny Depp and Benitio Del Torro, both of whom I barely even recognized in their roles (Depp with a shaven head and the bloated Del Torro who gained 40 pounds for his portrayal of "Dr. Gonzo"). Del Torro has one scene in particular (the bathtub scene) which is both disgusting and very disturbing. Apparently his performance was so convincing that he had a hard time getting work after this film because everyone was convinced that he was wasted on the set. The truth is that he's just a damn fine actor who didn't hold back for one second, which is exactly what the film called for. Also the scene of Johnny Depp squealing like a banshee after imbibing some adrenocrome and Del Torro freaking out behind him is unforgettable.
The directing itself is fast paced with offseting angles a lot of wide angle lenses. Gilliam has a style which is unmistakable, it's like walking around inside of a Dali painting, everything is distorted and stretched to create a strong sense of surrealism. Yet his approach is much less offensive than Oliver Stone, who desperately throws every single filming trick at you repeatedly until you are pummeled into submission. Wow, look he switch to 8 mm, then black and white, now it's slow mo all in 3 seconds!
Anyway, I digress. This is a fine movie, don't watch it stoned, you'll get more out of it, repeated viewings are recommended. I also recommend getting the criterion DVD version, which has commentary by Gilliam, Depp, del Torro and Hunter S. Thompson himself!
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