PUSHER (includes trailer)
May 11th 2010 00:31
Nicolas Winding Refn’s Pusher is an impressively intensive experience from start to finish. This would be the first film in a trilogy, and while the first two Pusher film’s never go as far out as the third instalment’s ridiculously traumatic climax, Pusher is still a raw to the bone, take no prisoners, ride.
Pusher sets it’s scene on the unforgiving streets of Copenhagen, it tells the story of a drug dealer, Frank, played by Kim Bodnia (Bleeder, In China They Eat Dogs) who’s about to get way out of his depth. Frank and his best mate Tonny, played by Mads Mikkelsen (Casino Royale, Pusher II, Clash Of The Titans) are two foul mouthed thugs, drifting between the winds of the criminal underworld as drug mules, selling coke and smack. They aren’t exactly tough guys, although they imagine they are, but are still the kind of characters that most normal people try to stay away from. When we see Tonny and Frank bonding, they are simply killing time, completely aimless, we sense that they became friends because they couldn’t find anyone else that would hang out with them. The other soul Frank spends his time around is a hooker named Vic.
Frank is in debt to big time drug dealer Milo, played by Zlatko Buric (2012, Dirty Pretty Things, Pusher III). Frank makes a deal to get out of debt with Milo, but when that goes wrong he owes him even more money and soon finds himself in a pressure cooker he can’t climb out of. The clock is ticking and he is constantly looking over his shoulder.
The key crew on Pusher have really done a great job in bringing this whole world to life. This hyper realistic film written, produced and directed by Nicolas Winding Refn (Bronson, Fear X, Valhalla Rising) is light on it’s feet and at times seems effortlessly crafted. Refn as a first time director really knew what he was doing, this world he paints seems thoroughly authentic and the events and emotions that come out of his less than likeable character’s seem lived through. The production design by Lovetand Julebæk, is high in colour and rich in detail which stops any chance of the film ever seeming bleak. The film is shot all hand held in grainy 16mm, with a saturated look that seems to pop out of the screen. The night time exteriors are particularly wonderful to view in this film as we witness the seedier parts of Copenhagen brought to life.
At the same time, one of the film’s most striking flaws is the manner the handheld camera is used. It comes across as overly jittery which causes certain moments to feel unfocused. Later on in Pusher III, the handheld camera would seem more disciplined, calmer and more effective in capturing the subtleties and dimensions of important moments that it seems to miss in this first one. One other smaller problem Pusher has is the script’s lack of finesse in establishing the characters, much of which entails overly crude dialogue. We’re clearly in the hands of a gifted writer yet the moments where Tonny and Frank are bonding are spent discussing things that alienate the audience from them before their characters have even been established. We know that these characters are not likeable, the film show this to us non-judgingly, so why is Refn overselling it?
The world of Pusher is a dark one, a downward spiral. No one’s having any funny discussions and the violence isn’t stylised with fashionably chic music dubbed over it, it’s brutal, just like it should be. When someone gets shot or beaten there’s no punch lines to be found. It hits the viewer hard and the cinema verite style of combining all hand held camera work with invisible editing creates the hyper real documentary style to compliment this. The acting from all the cast is exceptional, with no weak links to be found, from the lead actors all the way down to the bit players. All the actors embrace the ugliness of this unflinching story, going to dark territory, never afraid to take risks, never trying to be funny, cute or likeable – but simply taking the material as it comes and giving it everything they’ve got.
Pusher’s biggest strength however, is it’s energy, it has fury to spare. Refn knows how to tell a story and it’s bloody consistent. It’s got all the power of a kick in the nuts and it’s visceral impact never wavers. Pusher has a precise focus, a furiousness that is to be respected. It immediately earns its place among other classic crime films and it’s easily deserving of the two sequels which followed.
Refn said Pusher was influenced by John Cassevetes’ film, The Killing Of A Chinese Bookie. Refn said that when he discovered Cassavetes shot in chronological order, he decided to shoot all his films that way too. Doing this would give the film a lot of energy as the actors we’re focusing on everything as it came, giving the performances a spontaneous feel, letting no one have any preconceived notion of how things would turn out ahead of time, this shows up clearly and works marvellously.
Pusher is for the hardened viewer only, by being faithful to it’s indie roots it has carved out a special place in the annals of cult cinema. It closes in on you, tightens the screws and demands you don’t look away. Once the pressure cooking begins in Pusher it’s tension never dissipates. It ponders the fate of it’s characters - do they deserve an ending this terrible? Does anyone deserve this, even if they have done wrong? Pusher is not only an intense ride with a unique vision but it’s also got something to say. Along with Breaking The Waves (which was edited by Nic Refn's father actually), it would be one of the film's to put Denmark back up on the cinematic map, once more.
Here's the trailer for 'Pusher' - it doesn't have subtitle's in the trailer - but the point comes through loud and clear!
Pusher sets it’s scene on the unforgiving streets of Copenhagen, it tells the story of a drug dealer, Frank, played by Kim Bodnia (Bleeder, In China They Eat Dogs) who’s about to get way out of his depth. Frank and his best mate Tonny, played by Mads Mikkelsen (Casino Royale, Pusher II, Clash Of The Titans) are two foul mouthed thugs, drifting between the winds of the criminal underworld as drug mules, selling coke and smack. They aren’t exactly tough guys, although they imagine they are, but are still the kind of characters that most normal people try to stay away from. When we see Tonny and Frank bonding, they are simply killing time, completely aimless, we sense that they became friends because they couldn’t find anyone else that would hang out with them. The other soul Frank spends his time around is a hooker named Vic.
Frank is in debt to big time drug dealer Milo, played by Zlatko Buric (2012, Dirty Pretty Things, Pusher III). Frank makes a deal to get out of debt with Milo, but when that goes wrong he owes him even more money and soon finds himself in a pressure cooker he can’t climb out of. The clock is ticking and he is constantly looking over his shoulder.
The key crew on Pusher have really done a great job in bringing this whole world to life. This hyper realistic film written, produced and directed by Nicolas Winding Refn (Bronson, Fear X, Valhalla Rising) is light on it’s feet and at times seems effortlessly crafted. Refn as a first time director really knew what he was doing, this world he paints seems thoroughly authentic and the events and emotions that come out of his less than likeable character’s seem lived through. The production design by Lovetand Julebæk, is high in colour and rich in detail which stops any chance of the film ever seeming bleak. The film is shot all hand held in grainy 16mm, with a saturated look that seems to pop out of the screen. The night time exteriors are particularly wonderful to view in this film as we witness the seedier parts of Copenhagen brought to life.
Kim Bodnia in 'Pusher'
At the same time, one of the film’s most striking flaws is the manner the handheld camera is used. It comes across as overly jittery which causes certain moments to feel unfocused. Later on in Pusher III, the handheld camera would seem more disciplined, calmer and more effective in capturing the subtleties and dimensions of important moments that it seems to miss in this first one. One other smaller problem Pusher has is the script’s lack of finesse in establishing the characters, much of which entails overly crude dialogue. We’re clearly in the hands of a gifted writer yet the moments where Tonny and Frank are bonding are spent discussing things that alienate the audience from them before their characters have even been established. We know that these characters are not likeable, the film show this to us non-judgingly, so why is Refn overselling it?
The world of Pusher is a dark one, a downward spiral. No one’s having any funny discussions and the violence isn’t stylised with fashionably chic music dubbed over it, it’s brutal, just like it should be. When someone gets shot or beaten there’s no punch lines to be found. It hits the viewer hard and the cinema verite style of combining all hand held camera work with invisible editing creates the hyper real documentary style to compliment this. The acting from all the cast is exceptional, with no weak links to be found, from the lead actors all the way down to the bit players. All the actors embrace the ugliness of this unflinching story, going to dark territory, never afraid to take risks, never trying to be funny, cute or likeable – but simply taking the material as it comes and giving it everything they’ve got.
Pusher’s biggest strength however, is it’s energy, it has fury to spare. Refn knows how to tell a story and it’s bloody consistent. It’s got all the power of a kick in the nuts and it’s visceral impact never wavers. Pusher has a precise focus, a furiousness that is to be respected. It immediately earns its place among other classic crime films and it’s easily deserving of the two sequels which followed.
Refn said Pusher was influenced by John Cassevetes’ film, The Killing Of A Chinese Bookie. Refn said that when he discovered Cassavetes shot in chronological order, he decided to shoot all his films that way too. Doing this would give the film a lot of energy as the actors we’re focusing on everything as it came, giving the performances a spontaneous feel, letting no one have any preconceived notion of how things would turn out ahead of time, this shows up clearly and works marvellously.
The Australian DVD cover for Pusher
Pusher is for the hardened viewer only, by being faithful to it’s indie roots it has carved out a special place in the annals of cult cinema. It closes in on you, tightens the screws and demands you don’t look away. Once the pressure cooking begins in Pusher it’s tension never dissipates. It ponders the fate of it’s characters - do they deserve an ending this terrible? Does anyone deserve this, even if they have done wrong? Pusher is not only an intense ride with a unique vision but it’s also got something to say. Along with Breaking The Waves (which was edited by Nic Refn's father actually), it would be one of the film's to put Denmark back up on the cinematic map, once more.
Here's the trailer for 'Pusher' - it doesn't have subtitle's in the trailer - but the point comes through loud and clear!
| 130 |
| Vote |
subscribe to this blog
Comment by Matt Shea
Comment by ShaunK
Screen Adventure
Pusher 2 will be up tomorrow followed by Pusher 3 (my favorite of the lot). The powerful energy of the first Pusher however has never been surpassed.
Comment by JohnDoe
Film & TV on DVD
Comment by Bryn
Horrorphile
Comment by ShaunK
Screen Adventure
Thanks for reading - more dark Danish fun on the way.
Comment by Bryn
Horrorphile
And ... It's BRYN ... not BRYNN.
Cheers.