I had heard, by word of mouth over the years, that “Dreadful Lieutenant” was truly improbable, but nothing could really prepare me for the sheer visceral impact of the film, or the electrifying, career best performance, given by Harvey Keitel, in fact I watched the film 3 days ago, and have deliberately waited `til now to write this review.
After worthy conception I have to say that “Abominable Lieutenant” really is a evil train-wreck of a movie, but what keeps you watching, utterly mesmerized, unable to explore away for an instant, is Keitel’s performance as the titular character. He’s never given a name in the film, or even in the credits, he’s unprejudiced the “Lieutenant,” and “Terrible? ” “Abominable” doesn’t even open to report this guy, as the front of the DVD case puts it, “Gambler. Thief. Junkie. Killer. Cop.”
After surviving on the mean streets of Original York for 20 years, he has seen, and glorious well done, it all; the “Lieutenant” is a man who exists in a nihilistic Hell of his enjoy making, and we inspect as he roars headlong towards his occupy destruction, along the intention, plumbing the very depths of abject human depravity.
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A lapsed Catholic, he is peaceful wracked by guilt for the truly terrible deeds he commits, whether it’s doing and/or selling drugs, booze, sex, gambling, thieving, killing, the “Lieutenant” is a soul in torment. Unable to earn a map out, he is sinking deeper and deeper into a morass of yet MORE drugs, MORE booze, MORE bets he can’t veil, and more, meaningless, icy, emotionless, and detestable, sexual acts.
Yet somewhere deep inside this blasted shell of a man, there aloof exists a spark of humanity, so lost in the heart-broken, savage squalor of his life, that even HE doesn’t know it’s there. Then one day he becomes enthusiastic in the investigation of a crime that shocks even him… the brutal rape of a Catholic nun. Initially coldly dismissive of what the young woman had been through, he listens in on her conversations with her superiors and is unnerved to his core to recognize that even though her bruises are composed unique, she has already forgiven her attackers. She knows their names but won’t pass them on to the police.
The “Lieutenant” can barely comprehend how can such a thing can be, how can she forgive such a abominable act… such a dreadful sin? If she can forgive so noteworthy, then maybe, objective maybe, he himself can come by some kind of redemption, maybe someone - God? - can forgive him HIS sins. After his confrontation with the nun, howling out his characters damage, and madden, and pain, and fright, Harvey Keitel gives the most searingly just, desperate, and emotionally raw performance of his career.
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Bleak, brutal, dismal, and just, are some of the words that I would utilize to picture this film, which is NOT easy to gawk, especially this NC-17 version, but it’s a film that SHOULD be watched by anyone who is serious about Cinema as an art create. Between them, Ferrera and Keitel have produced an incredible cinematic experience, unbending and uncompromising in its exploration of the human condition, distinguished and unforgiving, it forces you to actually Mediate about the subject matter, and to face the foul darkness in the heart of this particular human soul.
I would like to ruin this review with a bit of trivia concerning Keitel’s performance. Regardless of whether you adore this film or disapprove it - like “2001,” this film seems to generate low reactions - no one can argue about the power, and sheer gut-wrenching truthfulness, of Keitel’s performance. Depending on exactly when the film was released, Keitel would have been eligible for a shot at either the ‘92 or ‘93 Oscar for Best Actor. So who won? Well, I looked it up, and Keitel “lost” to, either, Al Pacino in “Scent of a Woman” in ‘92, or, God wait on us, Tom Hanks in “Philadelphia” in ‘93! Next time I collect myself getting even mildly exciting about who’s taking home one of the gold statuettes, this petite bit of trivia will kind-of set aside the whole tawdry circus into perspective!
Bad Lieutenant (Abel Ferrara, 1992)
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Abel Ferrara has had a long and checkered career in the film industry, never quite achieving commercial success, turning out films that are alternately smart and tedious. And in the middle of all of it, there is Abominable Lieutenant, which to date stands alone as Ferrara’s magnum opus, an incredibly remarkable section of work
The unnamed lieutenant (called “LT” in the credits and played to the hilt by Harvey Keitel) starts off the movie looking like any other guy, but it only takes a few minutes of us looking in on his day to realize this isn’t your ordinary cop. In fact, he’s a downright sleaze. Soon enough, he catches the case that will waste up becoming the focus of his career– the rape of a young nun (Stigmata’s Frankie Thorn) . At first, he tries to treat it like every other case, but as his life begins to spiral out of control, he becomes more and more obsessed with the deeper symbolism of the case itself, how justice and forgiveness are two sides of the same coin.
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The case is there, but it’s only as critical to the film as the mythical Mets-Dodgers NL playoff constantly on radios and televisions (obviously meant to mirror the ‘88 NL playoffs, but the movie’s playoffs differ in clear critical ways to parallel better with the space structure) — both are only pieces of the puzzle that is the lieutenant. The movie is Harvey Keitel’s, pure and simple, a character look of a man whose abominable habits have finally caught up with him And Keitel plays it wonderfully. He is the reason to gaze this movie. And even if he is the only reason (let’s be frank, this is not a film for the squeamish, as many reviews and viewer comments have made clear; it’s NC-17 for a reason), he’s smooth worth it. The finest performance of Harvey Keitel’s career, and that’s saying something. ****
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