In Bruges (Martin McDonagh, 2008): UK/Belguim

Reviewed by Richard Feilden. Viewed in Santa Barbara.

Jokes about midgets (dwarves?) aren’t funny. Jokes implying that any male who does not meet some pre-defined standard of masculinity are homosexual aren’t funny. Punctuating a sentence with vulgarity like a tourettes sufferer on their sixth coffee of the morning isn’t funny. Cockney gangsters, dead children, drug abuse and violence towards women – not a single one of these should raise so much as a smirk. So how then is In Bruges, a heady cocktail of all of these things, so damn hysterical?

Hit-men Ray (Colin Farrell) and Ken (Brendan Gleeson) are polar opposites. Having been sent to hide out in the titular Belgian city by the mysterious Harry (Ralph Fiennes) following an unspecified crime, the older, wiser Ken embraces the history and beauty of the medieval architecture whilst his hyperactive yet brooding companion kicks his heels and whines about being bored. Their sightseeing takes a turn for the better when Ray spots a beautiful woman on a film set, but everything comes crashing down when the true nature of their crime leads to Harry giving Ken another job…

After you’ve recovered from the verbal battering that the film delivers within the first few moments, the gorgeous cinematography becomes apparent. Cinematographer Eigil Byrld captures both Ray’s lack of interest in Bruges and the enchanted world that Ken experiences. In particular the night time shorts of the rain slicked cobbled streets are stunning. This really is beauty and the beast.

On top of this are the performances of the two leads, without which there would be no film. Farrell plays a man who can’t think a thought without it crossing his face (and often his lips) with real passion. From sulking hunched up on a canal boat and dragging his feet like a three year old to dancing backwards avoiding the punches of an overweight American tourist whose chain he has been pulling, he is a joy to watch. Gleeson, treading somewhat familiar territory as the wiser, older partner, is as great as always, offering nuance is a world of brashness. His scenes with the Fiennes, who is in full on, scenery chewing, Gary Oldman madness mode, are especially fun due to the actors contrasting styles.
This film manages to keep from either taking itself too seriously or dissolving into farce. The emotional blows which balance out the laughs never feel too contrived and the film’s self-referential nods ( such as the Grosse-Point Blanke inspired honesty from Ray when asked what he does for a living and a moment in which he begins to provide a diegetic voice-over) prevent it from being taken too seriously and allow the audience to relish, rather than be repulsed by, the political incorrectness. Highly recommended, at least to those not easily offended.