Starring: Colin Farrell, Brendan Gleeson, Ralph Fiennes, Clemence Poesy, Jordan Prentice, Jйrйmie Rйnier
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‘Bruges is the superior preserved medieval township in Belgium,’ reads Brendan Gleeson’s impressed Ken. ‘It’s a fucking shithole!’ fires with little his redone, younger room-sharer and guy hitman-on-the-run Pencil (Colin Farrell). Then begins the meet jest of ex-theatre wunderkind Martin McDonagh’s daedalian, savvy and enjoyable fix of the odd-couple/gangster spring, a sort picture self-assured its own audience-pleasing colloquial sparrings, joke-enabling moral sophistry and tongue-in-cheek standard and cinematic borrowings – from Hieronymus Bosch’s ‘Pattern Judgement’ to Nic Roeg’s ‘Don’t Look In the present climate’ and every belfry, picaresque canal and prominent seventeenth-century erection in the ‘Venice of the North’.
Its mock-artistic thriller trappings notwithstanding, ‘In Bruges’ is basically a funny, tragicomic two-hander, with the casting of Farrell alongside Gleeson enabling a pleasing Irish inflection: culture-vulture ogygian pro Ken and philistine loose cannon Ray are Dublin-accented, London-Irishmen with shared regretful pasts awaiting destiny in the herself of psychopathic boss Harry (Ralph Fiennes as an enjoyable, mumbling Mamet-ian individual with a suicidal coherence of honour).
McDonagh adeptly milks the job comedy of the inconsistent pair with the clock sustained down – as in Edouard Molinaro’s film ‘A Travail in the Arse’ – lacing his stage show with cheeky racist-dwarf jokes and dextrous set-pieces (importantly an amusing face-to-face assail escape of Michael Mann’s ‘Heat’). But the veil’s natural pleasure lies in McDonagh’s verbal felicity – the naturalistic discussion is a murmur of presumptuous wind – and while Farrell struggles to juggle his side-splitting ‘chuck-full’ self with sentimentalist pathos, Gleeson excels in his impersonation as the weary gangster pondering the possibilities on his own by no chance at redemption.
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