In Bruges (2008)
Written and Directed by Martin McDonagh
Review by Ryan Peckinpaugh
I like to think of myself as a connoisseur of film. Sure, I don’t get as many of the small arthouse/mumblecore/indie/foreign films as I should, but I try to see at least one new film a week. Over the years I’ve attempted to compile a list of my top one hundred favorite movies, and I have a set of rules I adhere to in order to call a movie a “favorite.” I have to have seen the movie at least five times and never grown tired of it (too often a second viewing reveals that a film has little re-watch value), but it doesn’t have to be a “good” movie by any sort of societal standards, I simply have to enjoy it.
In Bruges makes my list of all time favorites on both accounts. It’s weird, it’s funny, it’s heartfelt, it’s shocking, it’s bloody and above all, it’s just a wonderful bit of filmmaking. Written and directed by Irish playwright Martin McDonagh, In Bruges tells the story of two hitmen, Ray (Colin Farrell) and Ken (Brendan Gleeson) hiding out in Belgium after their most recent job, awaiting their next orders from their boss, Harry (Ralph Fiennes). Harry believes he’s doing them a great favor sending them to a “fairy tale land” - especially for Ray - when in actuality Bruges is the absolute last place Ray wants to be.
The film opens with Ray’s voice-over narration setting the tone of the film perfectly: “After I killed him, I dropped the gun in the Thames, washed the residue off me hands in the bathroom of a Burger King, and walked home to await instructions. Shortly thereafter the instructions came through – ‘Get the fuck out of London, youse dumb fucks. Get to Bruges.’ I didn't even know
where Bruges fucking was… It’s in Belgium.” The first shot shows Ray and Ken in a small gondola taking a ride down one of the canals. Ken is awestruck by the surroundings, taking it all in with admiration. Across from him sits Ray, clutching his arms in his pea-coat, mouth covered, eyes scowling, in utter shock that this is where he’s wound up. We immediately know who these characters are: an experienced hitman who has an appreciation for fine architecture and
art, and a rookie who’d rather spend his evenings in a bar getting pissed. McDonagh defines these characters in the first image of the film so masterfully that it’s easy to sit back and enjoy their (mis)adventures.
where Bruges fucking was… It’s in Belgium.” The first shot shows Ray and Ken in a small gondola taking a ride down one of the canals. Ken is awestruck by the surroundings, taking it all in with admiration. Across from him sits Ray, clutching his arms in his pea-coat, mouth covered, eyes scowling, in utter shock that this is where he’s wound up. We immediately know who these characters are: an experienced hitman who has an appreciation for fine architecture and
art, and a rookie who’d rather spend his evenings in a bar getting pissed. McDonagh defines these characters in the first image of the film so masterfully that it’s easy to sit back and enjoy their (mis)adventures.
What led up to this moment is revealed later in the film; part of the pleasure of McDonagh’s writing is that he doesn’t clue us in for the first twenty minutes of the movie, letting the mystery and the suspense build. It turns out that Ray and Ken had been given an assignment to kill a bishop. It’s Ray’s first job, and instead of it going smoothly, Ray unintentionally botches the job and kills the bishop as well as a young boy in the process. Neither Ken nor Ray know why they’re still waiting in Bruges, but they both understand it’s probably not a good thing. Though he’s good at hiding it, the accidental killing of the boy weighs on Ray. He hasn’t been in the business as long as Ken, and he’s unable to let something like that go. We’re oblivious to this past event as we watch the troubled Ray curse Bruges, imbibe great quantities of alcohol, and strike up a romantic relationship with a
local drug dealer moonlighting as a production assistant on a film shoot. But all the while we’re slowly figuring out that something is eating away at him inside. Ken’s role in this is to keep a close eye on Ray for fear that he may let the guilt overcome him and, in turn, hurt himself or someone else. Ken drags a protesting Ray sight-seeing to the old medieval buildings, enamored with the architecture and history of it all. Ray, of course, doesn’t harbor the same appreciative feelings as Ken, and wants nothing more than to get home to Dublin.
local drug dealer moonlighting as a production assistant on a film shoot. But all the while we’re slowly figuring out that something is eating away at him inside. Ken’s role in this is to keep a close eye on Ray for fear that he may let the guilt overcome him and, in turn, hurt himself or someone else. Ken drags a protesting Ray sight-seeing to the old medieval buildings, enamored with the architecture and history of it all. Ray, of course, doesn’t harbor the same appreciative feelings as Ken, and wants nothing more than to get home to Dublin.
This is the inventive fun of the movie: watching Ray and Ken bicker about Bruges and how to appropriately spend their time waiting for Harry’s call, and seeing Ray’s continuing downfall. When Ray stumbles upon a movie being shot in the heart of town and befriends Chloe (Clémence Poésy) and a dwarf on set, he goes to dinner with Chloe and winds up fighting a Canadian couple at the table adjacent to theirs. When Chloe’s ex-boyfriend attempts to rob Ray with a blank pistol, Ray winds up blinding him by shooting the blank bullet into the man’s eye. High on cocaine shared with prostitutes and his new dwarf friend, he discusses a hypothetical upcoming war between white people and black people. The quirkiness of the situations and conversations, however, are not arbitrary. McDonagh has a purpose with every scene, as aimless as each might seem to be: they all builds towards a larger goal, outlandish set-ups to big pay-offs.
Ken hears from Harry when Ray is out on his dinner date with Chloe. Harry informs Ken that he must kill Ray, on the principle that killing a child is unforgivable. Harry sent them to Bruges because he remembers it as a magical place he went once when he was a boy and wanted to give Ray one last
great time before he has to die. The irony here is that Ray would likely rather be dead than in Bruges.
great time before he has to die. The irony here is that Ray would likely rather be dead than in Bruges.
It’s not only the quirkiness of the writing or the set-ups and payoffs that deliver here. The performances shine as well. Ralph Fiennes has always been known for playing very effective villains, and his portrayal of Harry is no exception. Here’s, he’s not the typical crazy mobster boss with no morals or remorse. Harry has principles that he sticks to and by which he lives. He truly does care for Ray, but if it were he who had shot the child, he’d expect no different punishment: he states that if it had been him, he’d have stuck the gun in his own mouth instantly, without even a second thought. Harry has a family of his own, and while he’s in the gun-for-hire business, he is a man with
a strict code of ethics that he adheres to without deviation. This has the effect of making him an even more frightening villain.
a strict code of ethics that he adheres to without deviation. This has the effect of making him an even more frightening villain.
Brendan Gleeson is also terrific as Ken. He’s the weathered veteran with every kill carried in his expressions. There isn’t much he hasn’t seen and it’s visibly tired him. He’s smart, but straightforward. He doesn’t need extravagant nights of constant adventure. A good book or an architecturally beautiful building satisfies his needs. He’s the classic mentor. But it’s Colin Farrell who gives the performance of his career--yes, it is a comedic performance, but there’s so much depth to his character. He’s done something unspeakable and tries as hard as he can to keep it together. One minute he’s laughing and joking, until something said will remind him of what he’s done and he’ll fall to his knees in tears. He’s an emotionally complex character with subtle layers of
repressed inner conflict ready to explode. Ray isn’t able to forgive himself because, although he’s a killer and a very humorous and entertaining guy, he’s also human.
repressed inner conflict ready to explode. Ray isn’t able to forgive himself because, although he’s a killer and a very humorous and entertaining guy, he’s also human.
In Bruges is the perfect cocktail of action and character, of physical comedy and dry wit. It’s what defines a truly great movie: it’s a memorable experience. McDonagh’s second film, recently released, Seven Psychopaths, is just as clever and funny as In Bruges and I highly recommend seeing that one as well. Unfortunately, it looks as though it is going to go just as underappreciated in theaters. In Bruges didn’t make much box office noise, but there’s a reason it’s developed a devout cult following. I hope that you check it out. If you do, I think you’ll find yourself joining that cult as well.