AKA It Happened in Your Neighborhood
DIRECTED BY: Rémy Belvaux, André Bonzel, Benoît Poelvoorde
FEATURING: Benoît Poelvoorde, Rémy Belvaux
PLOT: A documentary crew follows a serial killer around on his daily rounds, becoming more and more complicit in his crimes as he slowly charms them, and eventually finances completion of the film with the money he steals from his victims.
WHY IT WON’T MAKE THE LIST: Man Bites Dog starts with an absurd premise, that a camera crew would follow a serial killer around nonjudgmentally documenting his crimes, and follows that bizarre idea to its illogical conclusion. Once the concept is established, however, the film goes about its business with a stark realism that only rarely strays into absurd territory. The movie’s black humor and ironic celebration of violence don’t set out to give us a weird feeling; they are an intellectual attempt to disturb us, morally.
COMMENTS: Even though Man Bites Dog ultimately misses its satirical target, there is a lot to admire in the craft behind this experimental expedition from three Belgian student filmmakers. Chief among them is the performance of Benoît Poelvoorde as the killer (also named Benoît). Poelvoorde inhabits the role with a cocky, credible naturalism that suggests he is playing himself, if only he made his living by killing old ladies and postmen for a handful of francs at a time. As the subject of the documentary, the character of Benoît is fascinating, even when he’s not pumping bullets into a body. He has the soul of a bad poet; a would be philosopher, he takes time to notice and pontificate on the finer things in life. He’s capable of pausing in the middle of stalking a victim to notice some amorous doves, and discourse to the camera in hushed but knowledgeable tones about avian mating habits before resuming his hunt. He’s also casually racist and homophobic, kind to his parents and girlfriend, constantly aware of the camera’s location and visibly anxious to make sure that it is always pointed in his direction. He’s shamelessly unafraid to be captured on film, either killing or vomiting up a mix of wine and bad mussels, so long as he’s the center of attention. Without such a strong, guiltily charming characterization centering the film, the extreme violence and cruelty of Benoît’s rape and killing sprees would be unpardonable.
The film, ostensibly a black comedy, also has some very funny moments: Benoît is ambushed by a rival killer, only to find, after he dispatches him in a shootout, that his latest victim also had a camera crew following him around. The juxtaposition between Benoît’s amiable public personality, exemplified in a conversation with his grandpa about the time the old man sold a sucker a department store-bought pair of panties claiming they belonged to Brigitte Bardot, and scenes where he discourses in a drolly businesslike manner about the various ballast ratios needed to sink bodies of adults, children and midgets, also provides an undercurrent of fun. But unfortunately, although there are a few gems, most of the way the gags fail badly to find the correct balance between darkness and comedy, leaning much too far towards the former. Most people find the child snuffing and gang rape/murder scene particularly, and needlessly, vile, but the Continue reading CAPSULE: MAN BITES DOG [C’est arrivé près de chez vous] (1992)
(Theatrical Cut)