Summary
Most movie thrillers, whether ultimately thrilling or not, initially require an audience to simultaneously follow more than one narrative thread. Someone, for example, is selling drugs to supermodels, while someone else is sitting in the forest having dinner. Their respective ages, demeanors and parental papering couldn't appear more different. Our willingness to give a flying bejebus about both someones is granted in the faith (here's the job of a screenwriter) that said threads will soon knot together into action, intrigue, bloodshed, and bared ... intentions. I can honestly say that, with the exception of Cremaster 3, I don't a recall a film where that knotting is delayed for longer than in I'll Sleep when I'm Dead.
The in-theater appeal of Hodge's film can be summed up in the scene where Will finally decides that enacting a Boad-whack is his only viable recourse. Most American directors (I'm thinking Scorcese in particular) would outfit Will with a blunt instrument, or better yet blunt-with-pokey-stuff-on-it, and march him over to Boad's house to bathe both men and most of the surrounding zip code in blood. But Hodges is too composed, too ... I don't want to say British, but I'm thinking it ... to so sully his nice little picture. Instead, scraggly Will leisurely showers, shaves, takes his old gangster clothes, gun and car out of storage, fastidiously cleans all three, and only then totters off to Boad's abode. These actions are all the more interesting because we know there is no reason other a silent, unannounced ritual behind them.See the full content of this document
Extract
Thugs Are People, Too& I'll Sleep When I'm Dead
Most movie thrillers, whether ultimately thrilling or not, initially require an audience to simultaneously follow more than one narrative thread. Someone, for example, is selling drugs to supermodels, while someone else is sitting in the fo...
See the full content of this document
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