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In response to
""Milk""
by
pigby
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"In Bruges"
Posted by
pigby (aka chris)
Feb 10 '09, 20:19
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IN BRUGES no draft date/94pp.
There is limited commercial potential in this effective drama (with dark humor) about two hitmen who are sent to the historic town of Bruges, Belgium � after a hit results in the accidental death of a boy. Written (and to be directed) by British playwright Martin McDonagh, the script definitely reveals the scribe�s theatrical roots, especially in its earlier scenes, but this is never a hindrance. Interestingly, it seems clear that the likes of Martin Scorcese and Quentin Tarantino have influenced this Brit. A good production could score with critics and select audiences, but this is not likely to attract mainstream moviegoers.
KEN is the experienced hitman who travels to Bruges with co-worker RAY � after a botched hit. While RAY is distraught and suicidal after accidentally killing a boy, KEN is more collected. He even enjoys the sightseeing of the ancient town of Bruges. However, KEN�s upbeat nature takes a turn when boss HENRY orders him to kill RAY. KEN genuinely likes RAY and doesn�t want to shoot him. However, the script doesn�t provide us with enough substance in their relationship to make KEN�s dissention wholly credible. In order to create a personal dilemma for KEN � we learn that HENRY avenged the death of KEN�s wife. So, disobeying HENRY�s request takes on a larger consequence for KEN. Although this is a noble effort at creating some internal drama for KEN, it never plays with much conviction. And the backstory (of HENRY decapitating a police officer) never integrates well into the evolving story. (An awkwardly placed flashback doesn�t help.) In fact, the decapitation beat leaves us wondering how HENRY was able to kill a cop (in the precinct) and get away with it. Although some of this doesn�t play with great strength, KEN is well conceived and executed nonetheless.
The story is simple but lively. Although this isn�t wrought with tension, there is plenty of momentum and some good surprises along the way. The violence (with the exception of the dead boy) is handled with tongue-in-cheek. Even the death of the midget (mistaken as a child) is clever and elicits some chuckles. RAY shares the spotlight with KEN. The script starts off by giving him the big internal dilemma: He accidentally shot the kid. And the script handles this with more credibility than it does KEN�s conflict. RAY is an amusing killer and has plenty of good scenes (like shooting EIRIK in the face with a �blank� and punching out the Canadians). Of course, in the end, all the bad guys meet an appropriate fate. Although the narrative is mostly low-keyed, it is energized by its various surprises. For instance, EIRIK bursting in on RAY and CHLOE is good. Ditto with RAY getting yanked off the train by the police. The dialogue is good. The Brits have a way of using the word �cunt� that always garners some chuckles. (Americans are much more uptight over the use of the word.) And the little details are also effective � like the use of the dead boy�s �confession� list. Also, the script uses the town of Bruges to great effect.
IN BRUGES is an entertaining but �small� story about two hitmen who recuperate in the Belgian town after a murder-gone-awry. This is another �quirky� little crime drama with a dark sense of humor, but the characters (mostly misfits) and dialogue (by playwright Martin McDonagh) are above par. After winning an Oscar for his short film, the playwright-turned-screenwriter seems like an appropriate choice to direct. This project is worthy of CONSIDERATION
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