Contemplating "In Brujes," Ralph Fiennes, Roy Scheider, U2

By PHILIP WUNTCH
Film Critic Emeritus

If "In Brujes" didn't warrant its own strong identity, you'd dismiss it as yet another of the many sons of "Pulp Fiction."

It's got huggable hit men whose cheeky banter keeps their minds off their dastardly deeds. It's got violent, often slow deaths and dark, dark moments of humor. But it's blessed with its own vision and a plot filled with as many unexpected twists as a street map of the titular Belgian tourist spot.

With these distinctions, director/screenwriter Martin McDonagh makes an auspicious feature directing debut. The playwright, whose "The Pillowman" and "Beauty Queen of Leenane" won accolades on Broadway and the West End, balances "In Brujes" with wry yet rowdy wit and grimly honorable fatalism. The characters' imaginative profanity almost makes David Mamet seem like Louisa May Alcott, and it's obviously not a movie for everyone. But those who like it will probably want multiple viewings, and I plan on going back for more. Despite McDonagh's idiosyncrasies, the ghost of "Pulp Fiction" inevitably hovers, but "In Brujes" holds its own.

Colin Farrell and Brendan Gleeson play hit men Ray and Ken. Following a hit that tragically misfired, maniacal boss Harry (a deliciously malevolent Ralph Fiennes) sends them to Brujes to await further orders. It's Christmas time, and the medieval Belgian city overflows with happy tourists and eager merchants, all the while looking like a gingerbread village sprung to glorious sugar-and-spice life.

The older and mellow Ken takes to Brujes with desperate eagerness, finding solace in its churches, museums and canals. The sometimes clueless and anything-but-mellow Ray can't stand the place and voices his contempt to increasingly hostile listeners. Ray played the pivotal role in the tragically botched job that caused the duo's temporary exile, and he longs for some mode of atonement. With Harry's arrival in Brujes, it's apparent that all three men have their own codes of perverse honor.

As pathetic Ray, Farrell gives what is arguably his best performance. He showed unexpected vulnerability in "A Home at the End of the World," and here he deftly mixes savagery and vulnerability. With his little-boy face and caterpillar eyebrows, he's often had the appearance of trying to woo the audience. But here we sense that the forlorn character Ray, rather than Farrell the actor, longs for our approval.

Gleeson successfully transcends the older-but-wiser stereotype with a beautifully understated performance, and Fiennes, as mentioned earlier, delivers the deadly goods as a crime kingpin who knows where all bodies are buried. "In Brujes" is not a boys-only club, and two actresses, Clemence Poesy and Thekla Reuten, make strong showings in important supporting roles.

"In Brujes" always keeps you guessing, and you'll love it for that.

THAT FIENNES FEELING: "In Brujes" contains a quick silent close-up of Ralph Fiennes' eyes that gives chills to sensitive viewers like myself. His eyes glow and even sparkle at the prospect of potential mayhem.

I interviewed Fiennes twice, the first being for his breakthrough role as the concentration camp commander in "Schindler's List." Steven Spielberg said he thought of casting Fiennes when he recalled his performance in a version of "Wuthering Heights." Spielberg said that other actors, most famously Laurence Olivier, had emphasized Heathcliff's romantic nature whereas Fiennes emphasized the character's raging anger.

When Spielberg met Fiennes personally, he was convinced. When I told Fiennes later that Spielberg felt he had found the perfect Nazi after only one meeting, the actor roared with laughter and said that Spielberg was obviously intuitive.

Our second meeting was for Robert Redford's "Quiz Show." Fiennes played duplicitous quiz-show contestant Charles Van Doren, with John Turturro and Rob Morrow also starring. I interviewed Redford late in the afternoon, and during our session, all three actors came in separately to bid Redford adieu. Both Turturro and Morrow embraced the director with bear hugs. Fiennes came in last and spoke his appreciation with polite warmth. No bear hug, not even a handshake. Just a pleasant nod of the head.

I'm not saying that Fiennes has the makings of a homicidal maniac. I'm just saying that his humorous sense of irony and his armor of emotional distance can be superb tools for certain types of characters.

SCHEIDER MEMORIES: Roy Scheider's death Sunday was not a complete surprise, rumors of ill health having circulated for several years. But, this being awards season, it brought back a warm Oscar memory.

Scheider had been nominated as best actor for playing Bob Fosse's alter-ego in 1979's "All That Jazz." Dustin Hoffman in "Kramer Vs. Kramer" was the expected winner, and Scheider watched the ceremony in a New York cafe with his young daughter. When Hoffman was announced winner, a lucky photographer got a shot of a smiling Scheider being given a consoling hug from his daughter. He emerged the evening's most-photographed non-winner.

That's actually a significant anecdote. Although he had a strong speaking voice, Scheider's face often told the story. He was first noticed in a virtually mute, impressive small role as Jane Fonda's brutal pimp in "Klute." His breakthrough role was in "The French Connection," where his savvy underplaying combined with Gene Hackman's bravado proved a savory combo.

And of course, there's always "Jaws." He spoke the oft-quoted "We're gonna need a bigger boat!" line. But his facial expressions of shock, terror, dutiful courage and sheer fright grabbed the audience. Similarly, in "Marathon Man," his lingering look at William Devane reflected the unspoken nature of their relationship. In "Sorcerer," his silent final scene, in which he makes the fatal mistake of beckoning a homely woman for one last dance, reveals an unexpected soft side of his difficult character.

During the 1990s, Scheider had to settle for infrequent movie roles, mostly of inferior substance. But he was outstanding as a manipulative patriarch in "The Myth of Fingerprints." One of his best post-decline performances was in 1986's underrated "52 Pick-Up," from Elmore Leonard's novel. He played a less-than-honorable rich guy, with fine support from Ann-Margret as his ambitious wife and a youthful Kelly Preston as his ill-fated mistress.

But Bruce the Shark remains Scheider's most famous co-star, and his performance as an ordinary man in extraordinary horrific circumstances anchored "Jaws" as a fright fest everyone could relate to.

U2 3D: Cinemark 17's IMAX theater is holding over "U2 3D" indefinitely. It's easy to see why. Audiences have been jumping up and down in their excitement, acting as if they were at a live concert. Fortunately, the sightlines are so good that your view is never blocked.

"U2 3D" is simultaneously intimate and spectacular. Filmed during the group's lauded "Vertigo Tour," the 3D IMAX cameras capture the furious excitement of such an event, packed with spectators who have long anticipated the concert and are thrilled not to be disappointed.

More important, the film reflects the intimacy, the one-on-one artist-to-audience unity that the best concerts of any type of music provide. You'll feel a personal connection not only with Bono but also with guitarist The Edge. You can expect an abundance of zoom shots, but they never distract from the unique intimacy. In fact, the film is delightfully free of gimmickry.

Among the impressive selections are "Bullet the Blue Sky," "Sunday Bloody Sunday," "Miss Sarajevo," "Love and Peace or Else," "Vertigo" and "Yahweh."

Even if you're tone deaf, you'll enjoy the show. The sense of excitement is contagious.