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August 8th, 2008
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Two hitmen, one error

A character study of real characters
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May 7th, 2008 issue

By Rachel Shimp

For the Post
COURTESY PHOTO
A friend in need: Troubled hitman Ray has had quite enough of beautiful Bruges.
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In Bruges


Directed by Martin McDonagh
With Colin Farrell, Brendan Gleeson, Ralph Fiennes, Clémence Poésy and Eric Godon

Situated on a network of canals, the Belgian city of Bruges is a wonderland of carefully preserved medieval architecture. In playwright Martin McDonagh’s excellent first feature film, the city is adorned in holiday decorations, making it look even more like “a fuckin’ fairy tale,” as crime boss Harry (Ralph Fiennes) explains early on to a pair of his employees. It’s also a brilliant place to stash them until a work-related crisis is averted. Who’d look for them there?
However, the city’s charm doesn’t appeal to everyone. “I grew up in Dublin and I love Dublin,” says Ray. “If I’d grown up on a farm and was retarded, Bruges might impress me. But I didn’t, so it doesn’t.”
Ray (Collin Farrell) and Ken (Brendan Gleeson) are hit men. Ken’s maturity and experience are matched in measure by the opposite qualities in his colleague, a restless hothead who did more than bungle his first job. Through miscalculation and fate, Ray’s career as an assassin essentially began and ended at the same time. It also, understandably, did a number on his mental state. While Harry contemplates what to do with the troublesome novice, In Bruges plays out as Ray’s stopover in purgatory.  
Ken takes the assignment with curious pleasure, buying a guidebook and forcing Ray about town. “You think this is good?” Ray asks, hunched over and constantly furrowing his brow. He does not want to climb up the tower, because he can already see the ground from the ground. And he doesn’t think overweight Americans should climb the narrow steps either, since they resemble a pack of elephants.
McDonagh’s screenplay gives Ray a foul mouth and a total lack of empathy, even when he thinks he’s trying to help people out. It’s impressive when anything a movie character says is shocking these days. Some of the insults casually hurled in Ray’s thick brogue not only achieve that, but inspire laughter in tandem. McDonagh evilly manipulates the audience like that friend you trust, but know you shouldn’t.
Fortunately for Ray and Ken, hell doesn’t turn out to be other people. Instead, other people are what makes the uncertain, tense time in the city bearable — especially if they’re serving as unwilling victims for these pranksters. Ray loathes every spire and stone in sight, but loves screwing with the tourists.
And then Chloe (Clémence Poésy) enters his field of vision. She’s part of a nighttime film crew, getting a warm drink in between takes of a Fellini-esque dream sequence. His fervent attempts at courtship and their resultant friendship set up some of In Bruges’ best dialogue, in scenes that make you wince with the knowledge of things the characters don’t know.
Another dynamic personality whom Ken and Ray meet is Jimmy (Jordan Prentice), a dwarf who unsuccessfully tries to wrestle that signifier from Ray, who’d rather call him a “midget.” When Jimmy says he’s from the States, and please don’t hold it against him, Ken replies, “Just try not to say anything too loud or crass.” This apparently doesn’t include tipping them off to the closest local suppliers of narcotics and sex.
The nighttime wanderings of this motley crew take on the time-lapse qualities of a dream. Danger is always narrowly averted or reappearing around the next corner, but Ray is unfazed. He doesn’t yet grasp the significance of his stay in Bruges. It’s like he’s been having a drink with Chloe in the town square for all time.   
In movies that don’t come to a traditionally good end, the journey to that outcome must be worth taking anyway. In Bruges is a beautifully thoughtful film about some very difficult characters. It answers the question of whether it’s better to have loved and lost, or never loved at all, with Ray’s unspoken “yes.” And it attempts to show that even people who make the most tragic mistakes are also capable of occasionally making the right choice.
Rachel Shimp can be reached at rshimp@praguepost.com


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