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DIRECTED BY: Abel Ferrara
FEATURING: Harvey Keitel, Frankie Thorn, Zoe Lund, Paul Hipp
PLOT: A dirty cop indulges his many addictions as he pursues the culprits behind a horrible sexual assault on a nun.
COMMENTS: Central characters who are bad—flouting conventions, horrifying the prim and proper, indulging the id—are the stuff of Hollywood cliché. Between all the bad moms and bad teachers and bad Santas, these comical antiheroes can feel played out. But Abel Ferrara would never be lumped in with conventional showbiz trends, and his Bad Protagonist can in no way be misconstrued as a good-natured rebel thumbing his the nose at society. If anything, it’s the “Lieutenant” that’s superfluous in this title: our hero is a bad detective, a bad dad, a bad colleague, a bad gambler, a bad Catholic, a bad john. He drinks (sometimes upon waking up), he smokes crack, he shoots heroin, and he steals cocaine and sells it to drug dealers, keeping a little for himself to snort off any handy surface (including pictures of his daughter’s first communion). He robs criminals. He cajoles his colleagues into giving them their money and turns around and makes terrible bets with it. He cavorts with prostitutes, extorts teenagers for humiliating sexual favors… hell, when he shows up to a double homicide, he takes a lingering look at the victims’ breasts. And this is long before we witness him hurling vulgar invective at Jesus Christ. Ya get it, folks? The guy is just spectacularly bad.
Lost in the wonder of Nicolas Cage’s out-there turn in the quasi-sequel Bad Lieutenant: Port of Call New Orleans (and a third film supposedly in the works set in Tokyo and to be directed by Takashi Miike) is the fact that the original was a deliberate shocker in its own time. Ferrara pulls no punches, dramatizing every despicable moment in exacting detail as part of what my colleague Gregory J. Smalley called “an overwrought, magnificent Christian parable that sought to demonstrate God’s infinite capacity for forgiveness by presenting a character that audiences couldn’t forgive.” Bad Lieutenant is a Book of Job for its audience, dragging viewers through the muck and the mire and daring them to re-evaluate their notions of sacred and profane.
One should always be hesitant in using the word “brave” to describe an acting performance; it is just acting, after all. But Keitel’s work here is undeniably go-for-broke, and sometimes it borders on comedy to see just how horrible he’s willing to appear. He never stops talking, only yielding when a woman injects him with smack. He’s hostile to nearly everyone he encounters (including one of his kids portrayed by his real-life daughter). Contemporary critics made much of a full-frontal nude scene, a traditional line-in-the-sand for mainstream cinema, but Keitel is arguably even more naked in his fully clothed, emotionally raw confrontation with Christ, letting all his feigned confidence and gruff bravado drop in a desperate cri de coeur. The film’s Act 3 twist, in which he makes a series of questionable choices in an attempt to find redemption, only makes sense because Keitel has laid the groundwork for a character for whom no decision is unthinkable.
Bad Lieutenant is outrageous in the extraordinary awfulness of its title character, but not especially weird. Keitel’s troubles are entirely of his own making, and his desperate attempts to keep his head above water while insisting on tying more and more weights to his ankles have become more common in recent years, most notably in the frantic machinations of the Safdie brothers. Bad Lieutenant would make an excellent companion piece to the Apocryphally enshrined God Told Me To; both films force their central detectives to confront the nature of the Almighty and their unstable faith in the face of events in the living world, although their journeys are nearly polar opposites.
There’s an entertaining piece of subtext in the way Keitel’s fortunes mirror the championship baseball series that soundtracks the film. We learn from the outset that a comeback by the hapless New York Mets from a 3-0 deficit in a playoff showdown with the rival Los Angeles Dodgers would require nothing short of a miracle. (It’s a feat that would actually be pulled off for the first and only time 12 years later, by the 2004 Boston Red Sox.) Naturally, Keitel has stopped believing in miracles and so forsakes his hometown team, continuing to put his money and his life behind the ascendant Dodgers and slugger Darryl Strawberry, a prodigious talent who himself was infamously brought down by drugs. Of course, Keitel is in so deep to his bad bets that when things go south, he swivels on a dime from attaboy-cheering to racial epithets, punctuated by a gunshot to the car radio. Yes, he’s a bad, bad man, but it’s not his badness that brings him down. It’s his failure to heed the advice of another Met: “Ya gotta believe.”
WHAT THE CRITICS SAY:
(This movie was nominated for review by Flo. Suggest a weird movie of your own here.)
![Bad Lieutenant (Special Edition) [Blu-ray]](https://m.media-amazon.com/images/I/419C41ZUw1L._SL500_.jpg)
Bad Lieutenant (Special Edition) [Blu-ray]
- A degenerate cop who snorts coke, bets on playoffs and drinks himself into stupors starts to pull himself out of the abyss when he investi- gates the rape of a nun who refuses to press charges.
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COMMENTS: If you made a checklist of essential gangster-film elements, Sonatine would check a lot of boxes. Lone assassin, shootout in a bar, car bombing, cute moll faithfully standing by, thoughts of retirement balanced with the inescapability of the criminal lifestyle… they’re all here, and yet not one of them hits in the way you expect. Sonatine is unquestionably a crime film, particularly the Japanese-yakuza-chronicle variety, but it operates at a wildly different pace than its brethren.
throughout the book. (Here, “throughout” should be taken to mean “in every damn sentence.”) You know who would agree? Joyce’s countryman 
