“In Bruges'” screenplay, in Martin McDonagh’s BAFTA-winning debut feature is its crowning glory. McDonagh doesn’t hold back when it comes to his trademarks, such as dry gallows humour as a troubled Ray constantly resorts to tawdry and offensive potshots directed towards his peers or tourists as a coping mechanism (much to the chagrin of his victims). The film follows this with unpredictably-twisted scenarios, particularly in the second half, and subtle foreshadowing and callbacks to even the most minute and awkward situations that the protagonists find themselves in. The film anchors this to Ray’s unsavoury behaviour — such as his hotheadedness — that only circles back to the character(s) much later in the worst karmic ways possible.
McDonagh Examines a Different Kind of Friendship
The theme of friendship, which was the mainstay in McDonagh’s most recent “The Banshees of Inisherin,” is also central to “In Bruges.” However, unlike in “Banshees,” wherein the focus was on indifference and toxicity wrecking a long-term bond. Here, however, McDonagh shines the spotlight on a blossoming bond between an unlikely pair instead. Viewers are treated to funny and light-hearted repartee shared by Ray and Ken and a growing kinship, despite their poles-apart personalities. More often than not, their relationship feels akin to watching a calm and composed father struggling to put up with an irritable and unruly teenager!
As the movie progresses, Ray also begins to display a keen sense of open-mindedness, brought about by striking up conversations with the only other Irishman in Bruges besides himself, and by partaking in new life experiences. He encounters other eccentric and flawed individuals in a new city, while simultaneously relishing the thought of starting life anew, afresh, and free from the shackles of his mental burdens.
Having only just watched Colin Farrell play a happy-go-lucky individual and Brendan Gleeson as a recluse stewing in his agony in “Banshees,” it was indeed quite amusing to see a role reversal of sorts in this movie. The former playing a down-in-the-dumps recluse and the latter sinking his teeth into a more jovial character. It’s a refreshing change that works wonders in showcasing the range of both actors as well. Farrell subtly embodies Ray’s PTSD and disorientation remarkably well through body language. This is particularly true via character quirks and other mannerism. He will bite his thumbnail nervously when panic mode sets in as a result of his new surroundings or when the character’s guilt eats away at him.
An Unorthodox Christmas Flick
Gleeson, on the other hand, portrays Ken in a stripped-down and humanistic fashion, often acting as the foil to Ray’s tasteless jokes. Both actors also share a terrific chemistry that enables the audience to view both their characters through a sympathetic lens. Scenes such as Ray contemplating Judgement Day at an art gallery or breaking down in Ken’s arms in a desolate alcove further cement the duo’s winning chemistry. Ralph Fiennes, who we meet as a disembodied voice in the first half, also delivers an unnerving performance as the pair’s foul-mouthed, hypocritical, and robotic handler. He is unrelentingly childish, dutiful, married to the job, and thus ruthlessly faithful to his shady principles.
The cinematography by Eigil Bryld is yet another enriching facet that heightens the sense of unease and uncertainty in the brazen last half, and also succeeds at capturing the local scenic beauty.
All-in-all, “In Bruges” is a slice of life, dark comedy, action thriller tale of redemption and grim morality all rolled into one. It comes highly recommended if you’re on the lookout for movies that are in a similar vein to “The Banshees of Inisherin,” or are in the mood for an unorthodox Christmas flick.
“In Bruges” is currently available to watch or rent on most streaming networks.
