James
In (the intriguingly-titled) "The Brave One", Irish Director Neil Jordan offers us, in pretty slick fashion, what is basically a two-role (and somewhat theatrical) film for an impressive Jodie Foster as Erica Bain and a promising Terrence Howard as Detective Mercer. This is a very specific pairing which sees the characters somehow teasing both each other and the cinema-goer or watcher. And in the process, a whole load of conventions are pushed up to and rather beyond their limits. In that process, we look at aspects of human nature that seem true-to-life and plausible in and of themselves, and yet are ultimately taken to such extremes that style seems to conquer substance, with reality taking second place to a spirited attempt to force us to review our take on right and wrong.There's quite a bit of work done in this two-hour film! The story told here comes basically in four Acts. First, we are introduced to a somehow-androgynous (though enthusiastically heterosexual) Bain, portrayed by a quite spellbinding (and surprisingly Michael J. Fox-like) Foster. Here is a radio journalist of erudition and strong determination who virtually caresses the mike as she takes up her "bully pulpit", at times coaxing and at times cajoling her audience into accepting her eloquent and compelling and emotionally-charged take on the changing nature of the city she quite tangibly loves - New York. Given that this coincides with a growing romantic involvement for the character (with her British boyfriend "David", as played by actor Naveen Andrews), we have a surprisingly powerful portrayal of a woman small in stature maybe, but passionate and fully aware of what she wants and where she's going with it. Emotional (to the point of fragile) and passionate, certainly, but also fully in control.Unfaithfully, New York puts paid to this harmony and certainty via a chance Central Park encounter between Erica, David and their dog with a pair of psychotic thugs who cruelly and mercilessly and steadily end all the certainties in Bain's life. They leave her a shadow of her former self, as she freely admits - a now-alone victim at first scarcely able to leave her apartment block. Thus far, our emotions and responses in audience-land are entirely appropriate and normal, being confined within the limits of strong outrage and heartfelt sympathy.All that starts to change with further, again fairly chance happenings that propel our heroine in the direction of a firearm, and then - quite rapidly - in the further direction of making ready and regular use of it. And here the moral ambiguities step in, as the makers - and Foster herself - taunt us with the idea that Erica is being made whole again (if as a new person) by her wielding of the gun in increasingly confident vigilante style. Certainly, she shakes, feels regret, seeks to wash away her guilt, Lady Macbeth-like, in the shower. But all too soon she finds herself returning to the "putting down" of bad guys (there's no other word for it), and with increasingly facility. There is something illicit and wrong about this, somewhere down the line, and we feel shocked at what Bain is now doing, even as we in some way admire her, and cheer her along as justice is dispensed summarily from the barrel of her gun, and she gets away with things (i.e. gets away with murder) with surprising ease.Naturally, this brings Bain-as-murderer into increasing contact with the investigating Detective Mercer character, and here a further huge dimension of cat-and-mouse comes into the film. Mercer is no fool as a cop, yet he is clearly drawn to Bain-as-radio-presenter, as she to him, and there's more than a hint of corruption and eroticism as the chemistry between them grows, along with the conviction as to where everybody stands.That this is indeed so is made apparent by the dark and quite-theatrical "Final Act", which I shall offer no spoilers on whatever.Overall, it is hard to say if the evolution of Bain's character, and the plot stages it passes through, do very much to ennoble the watching audience. She has been through something terrible and our initial sympathy is genuine - and strong enough for it to carry us along quite helplessly as we observe the character return to assertiveness, and then become a rather cold-blooded repeat killer.Quite probably we should feel guilty about what we almost inevitably feel here, as we watch and are drawn compellingly into morally dubious areas.But then, whoever said films have to make us feel cosy with themselves and with ourselves? Here, the (not-inconsiderable) art lies in the measure of guilt, attraction and discomfiture we do indeed feel. And of course, this all remains within the realm of fantasy and film, and thus "safely" allows us to experience various emotions and sensations vicariously, without taking on much actual risk. Of course, the proviso here is that those watching are wise enough - and well-balanced enough - to play along with the experience within its limits, as opposed to without them...Overall, then, a quite meaningful, insightful and intriguing cinematic experience owing a very great deal to the personality of the star. This leaves the piece as distinctly watchable - and undoubtedly worth watching - for those up to the task.
FlashCallahan
The day that DJ Erica Bain selects wedding invitations, her fiancé is murdered and she brutally assaulted while walking their dog in Central Park. Upon discharge from hospital, she buys a handgun. When she witnesses a shooting in a convenience store and is chased by the killer, she kills in self-defence but flees. She then walks the night streets as a vigilante, a stranger to herself. Mercer, a detective, becomes her friend as he hunts for the killer, but also begins to suspect that she is on a vengeance quest.....Its a weird movie to be directed by Jordan, as it's not anything new or special, especially when you know he made masterpieces like Company Of Wolves, and The Crying Game.The same can be said for Foster, it's basically an exploitation movie. The writer has just seen Winners Dirty Weekend and Death Wish, took out the comedy from the former and made it more gritty.Its watchable though, seeing Foster walk the streets and killing people doing the wrong thing, but you'll have a nasty sense of déjà Vu throughout.Howard adds some acting chops to rival Fosters, but he does just spend the majority of the movie giving Foster suspicious looks and purposely staying one step behind.A much better revenge film 'Death Sentence' was released around the same time, and ironically the book was a sequel to Death Wish.
stormwings
... can cross that line. Said to all who forgot it or like do deny.What remains when happiness disappears and you're willing not to fake yourself but then faking yourself with shootings in which 'the others' die instantly without a scream and your gun is always loaded?I once held a drawn bow in my hand and know how a loaded weapon changes the feeling of the own body. Jodie Foster knows it and although she had inscribed her face to a character who makes use of the light trigger she always makes clear that this is not the only way. The movie shows full respect from different views to this fundamental issue by leaving enough silence to become aware about the movie in spectator's brain.The story seems only like a muzzy frame disintegrating itself when ever it is possible while "making a movie".Every single human being has to figure out how to live with fear - how to live at all, even "with a grudge". That's hard, yes.What can happen when some of the best meet and do their best to make art out of a "kind-of-standard-topic" using the financial power, knowledge and the equipment of the worlds most famous entertainment industries? You can see it when watching "The Brave One". The story disappears more and more every time I watch this magnificent work, but what I see still grips me tight and I feel my face getting wet. Mostly silent. Listen to Jodie Foster's voice during the 2 minutes (from the last caller on) when the first of her shots is heard again and Erica leaves the studio at 1:14:25. Emily Dickinsons poem „Death" spoken with a dark voice while putting gloves on - ennobled by a touch of music - just as she is called by name on the street in the night, between the last time she rather voiceless had tried to be received by a police officer and then calling the new friend on the phone in the night while waiting for the next one to kill. Anyway.~ * ~In my mind "The Brave One" is already far beyond questions about law or morality. There is no cheat code and no ace up my sleeve. Even if I think so. But then a reminder asks me to listen again carefully how heart and brain sound together.Some thankful words to Ene Oloja: Without you this film was simply impossible. Although this is only a story someone with open eyes had to wipe up the blood. God is a woman.How to come to an end? Simply stop writing and post the lines to where it's intended to.And forget about Erica Bain - if I can.
