Cruising (1980) ***1/2
William Friedkin's infamous film Cruising (1980), as well-known for the protests its production caused as for the subject matter itself, is essentially a really good slasher film. Friedkin has stated numerous times that the underground gay leather S&M scene in which the film is set was merely a choice he made because it was "unusual" and not something that mass audiences were accustomed to seeing. He never set out to harm a subculture and I believe that to be true. But he has also stated that he understands why many in the LGBT community were upset by the film and the subject matter.
Al Pacino is very restrained here, embodying his character with a smoldering intensity and naivety that suits the picture exceptionally well. Paul Sorvino, upon Friedkin's instruction, conveys a sadness in every single scene he's in, giving his role a true emotional weight. In fact, basically the entirety of Cruising is either sad, uncomfortable, or disturbing though rarely gratuitous (suggestion and audience manipulation through sound and editing can go a long way).
There are points of light along the way, mostly in the form of Don Scardino and Karen Allen's characters. But as a whole Cruising is a relentlessly somber mood piece, aided greatly by the heavily blue-tinged cinematography and Jack Nitzsche's melancholic score, at times consisting of nothing more than unsettling tones. Those sleazy Willy DeVille cuts (including the classic "It's So Easy") don't hurt none either.
Friedkin's use of the same actors as both victim and killer in various scenes, along with the ambiguous ending, may confuse some viewers but there are plenty of us that love that sort of thing. There are shortcomings in the motivation of the killer and in character development in general, but never enough to sink the film. Separated from the controversy, Cruising holds up well for fans of scuzzier ‘70s gialli and ‘80s NYC grindhouse fare and for those that like a horrific edge to their thrillers.
You can find my William Friedkin Feature Films Ranked list here.
Al Pacino is very restrained here, embodying his character with a smoldering intensity and naivety that suits the picture exceptionally well. Paul Sorvino, upon Friedkin's instruction, conveys a sadness in every single scene he's in, giving his role a true emotional weight. In fact, basically the entirety of Cruising is either sad, uncomfortable, or disturbing though rarely gratuitous (suggestion and audience manipulation through sound and editing can go a long way).
There are points of light along the way, mostly in the form of Don Scardino and Karen Allen's characters. But as a whole Cruising is a relentlessly somber mood piece, aided greatly by the heavily blue-tinged cinematography and Jack Nitzsche's melancholic score, at times consisting of nothing more than unsettling tones. Those sleazy Willy DeVille cuts (including the classic "It's So Easy") don't hurt none either.
Friedkin's use of the same actors as both victim and killer in various scenes, along with the ambiguous ending, may confuse some viewers but there are plenty of us that love that sort of thing. There are shortcomings in the motivation of the killer and in character development in general, but never enough to sink the film. Separated from the controversy, Cruising holds up well for fans of scuzzier ‘70s gialli and ‘80s NYC grindhouse fare and for those that like a horrific edge to their thrillers.
You can find my William Friedkin Feature Films Ranked list here.
Comments
Post a Comment