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I had heard, by word of mouth over the years, that “Abominable Lieutenant” was truly amazing, 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 understanding I have to say that “Abominable Lieutenant” really is a homely train-wreck of a movie, but what keeps you watching, utterly mesmerized, unable to discover 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 objective the “Lieutenant,” and “Awful? ” “Poor” doesn’t even commence to narrate 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 aesthetic well done, it all; the “Lieutenant” is a man who exists in a nihilistic Hell of his maintain making, and we perceive as he roars headlong towards his believe destruction, along the map, plumbing the very depths of abject human depravity.
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A lapsed Catholic, he is detached wracked by guilt for the truly abominable 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 win a device out, he is sinking deeper and deeper into a morass of yet MORE drugs, MORE booze, MORE bets he can’t cloak, and more, meaningless, chilly, emotionless, and contemptible, sexual acts.
Yet somewhere deep inside this blasted shell of a man, there collected exists a spark of humanity, so lost in the discouraged, 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 insecure to his core to inspect that even though her bruises are mild modern, 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 poor act… such a dreadful sin? If she can forgive so distinguished, then maybe, honest maybe, he himself can gather some kind of redemption, maybe someone - God? - can forgive him HIS sins. After his confrontation with the nun, howling out his characters hurt, and madden, and distress, and apprehension, Harvey Keitel gives the most searingly just, desperate, and emotionally raw performance of his career.
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Bleak, brutal, unsuitable, and objective, are some of the words that I would spend to portray this film, which is NOT easy to peruse, especially this NC-17 version, but it’s a film that SHOULD be watched by anyone who is serious about Cinema as an art produce. Between them, Ferrera and Keitel have produced an astounding cinematic experience, unbending and uncompromising in its exploration of the human condition, worthy and unforgiving, it forces you to actually Consider about the subject matter, and to face the despicable darkness in the heart of this particular human soul.
I would like to raze this review with a bit of trivia concerning Keitel’s performance. Regardless of whether you cherish this film or despise it - like “2001,” this film seems to generate outrageous 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 encourage us, Tom Hanks in “Philadelphia” in ‘93! Next time I come by myself getting even mildly fascinating about who’s taking home one of the gold statuettes, this exiguous 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 quick-witted and dull. And in the middle of all of it, there is Awful Lieutenant, which to date stands alone as Ferrara’s magnum opus, an incredibly mighty part 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 extinguish 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 considerable 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 distinct necessary ways to parallel better with the location structure) — both are only pieces of the puzzle that is the lieutenant. The movie is Harvey Keitel’s, pure and simple, a character glance of a man whose terrible habits have finally caught up with him And Keitel plays it wonderfully. He is the reason to stare 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 calm worth it. The finest performance of Harvey Keitel’s career, and that’s saying something. ****
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