Frank Miller, the lord of graphic comic novels, has been given his just due in a sumptuously stylized film version of his Sin City. Lovingly brought to the screen by Robert Rodriguez with an assist by buddy Quentin Tarantino, this tale of vengeance and lust in a dark metropolis is unlike any movie in recent years in terms of consistent technique and visuals serving a group of interconnected stories in which the outcasts of civilization engage in urban survival while attempting to maintain a sense of honor and love. It is also an extremely violent film.
On a dark, rainy night, three major stories parallel each other. The first story has Detective John Hartigan (Bruce Willis) search for a missing girl before a serial killer strikes again. With his unsavory partner, Bob (Michael Madsen), he finally tracks down the killer in a bang-up finish, or is it? A separate story has a brutish exconvict, Marv (Mickey Rourke), who seeks revenge for the murder of a hooker. He is befriended by a parole officer, Lucille (Carla Gugino), a waitress, Shellie (Britanny Murphy), a stripper, Nancy (Jessica Alba), and a hooker, Gail (Rosario Dawson). His search for the killer pulls him into a grisly world of murder led by psychopaths, dirty cops, and corrupt, political leaders. Another story has a loner, Dwight (Clive Owen), protect his waitress girlfriend from a gang led by Jack (Benicio Del Toro) and a mob boss, Manute (Michael Clark Duncan). Things come full circle once events unfold, and surprises are unveiled with seemingly unrelated events and characters linked together.
To say more would spoil a smorgasbord of film noir and stylized action. There are some clever plot twists and surprises along the way. People’s loyalties are constantly in question, and the three male leads are surrogate avengers for justice, redemption and salvation. The film’s structure is reminiscent of Tarantino’s own Pulp Fiction and even P. T. Anderson’s Magnolia where various people meet in a series of vignettes and affect others who are seemingly unconnected. There are moments that seem influenced by past films. Certainly Sam Raimi’s (Spiderman) earlier Darkman was a direct precursor to Sin City. There is a scene with Clive Owen driving with a corpse that is a sort of homage to the 1945 horror classic The Body Snatchers. Rutger Hauer plays a religious leader in a scene not unlike the scene in Blade Runner where ironically Hauer reversed roles as an assassin in that film. A marvelous action piece with a female samurai warrior has all the earmarks of Tarantino who picks up where Kill Bill left off.
It is fascinating to watch what is essentially a pre-storyboarded film with the graphic novel serving as a blueprint for the film. ‘Shot and cut’ by Rodriguez himself, the film feels very consistent with a true auteur’s vision. Frank Miller imagined it, and Rodriguez made it happen. This is Rodriguez’ most assured film thus far, and it is a living, breathing comic book in the best sense. Despite the wide commercial appeal of successful comic adaptations of Spiderman and X-Men, Sin City is perhaps the most authentic and uncompromising transfer of such material. Much of what is depicted onscreen is predominantly a fabrication of computer generated special effects and trendsetting photography within which the actors interact. The black and white photography is at times gorgeous and downright nightmarish with the strategically accented color schemes similar to the best shots in Pleasantville and Schindler’s List. There is no doubt that the visuals of this film have been achieved with painstaking detail and success.
A dream cast features a wealth of actors and actresses, any two of whom could have front lined separate features on their own. Willis and Owen are quite effective as heroic, yet flawed personas, but it is Mickey Rourke who is a standout in what amounts to a comeback film. Even under his Frankenstein-like makeup, his humanity and toughness shine through. He makes the most of a potentially ridiculous role. In addition, while the males are mostly rugged, disheveled hulks, the females are beautiful and extremely sexy (sleazy?) to say the least. Jessica Alba, Brittany Murphy, Rosario Dawson, and Carla Gugino, (sorely missed from her brief Karen Sisko tv series) sizzle on the screen as they crossover different storylines. The performances are all fairly convincing once you excuse the occasional, awkward voice over narration.
Some things are left hanging plot wise. Many characters are almost caricatures; we have to accept them at face value without much depth. We never fully understand the psychopathic monster that is played by Elijah Wood. Where did he come from and why is he purely evil? Likewise, a partnership, betrayal, and reconciliation at the beginning of the film are never fully explored. The dialogue is a bit Jekyll and Hyde with some hokey lines followed by a series of sharp, humorous ones.
This is a film superficially filled with nudity, explicit language, taboo subject matter, and buckets of bloody violence. This is going to be offensive to many people who are put off by intense scenes of mayhem, but to those who thrive on the film noir of adult comic books, it is a dream come true.
If this adaptation is a one shot deal, the filmmakers gave it their best efforts. It is entirely plausible to have a sequel with an entirely different cast (even though a number of the principles survive this entry.) This movie is a splendid exercise in look and mood with emotional substance, no mean feat. It is definitely not for the faint of heart, but for those who are game, just hang on and enjoy the ride. Ironically, although Sin City is a graphic film in every sense of the word, this tale of haunted characters in an amoral world is ultimately a moral film.
***1/2 out of **** stars mainly for action comic fans
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