It could have gone down as one of literature’s classic “unfilmable” books. Like The Catcher in the Rye or Gravity’s Rainbow, the voice was too distinct, the content too weird. FEAR AND LOATHING IN LAS VEGAS, Hunter S. Thompson’s farewell to the lost hope of the sixties, confounded many critics of the day, but was destined to stand the test of time as an important document of an era of great unrest. But its thin plot and bizarre tone seemed like they wouldn’t transfer to film. Big name directors like Martin Scorsese and Oliver Stone gave it their all, but the project never came together, even with stars like Jack Nicholson and Marlon Brando lined up for the main roles. But as it turned out, the novel wasn’t unfilmable. The singular book just needed a singular director.
Terry Gilliam’s 1998 adaptation is by no means perfect. It’s longer than it needs to be; while the book is, by its nature, meandering, it never feels bloated, which the film often does. Furthermore it’s fairly exclusive. It plays far better to an audience which is familiar with the book, which can enjoy the faithful recreations of key scenes, and probably understand what’s going on a little better. But while the film is not quite a masterpiece, what Gilliam achieved is nonetheless extremely impressive. When adapting a novel, especially one with a hardcore fanbase, there will always be complaints over aspects that were left out. The film is a faithful adaptation of the book’s story, but most of all it captures the tone, Thompson’s pervasive first person narration brought to the screen often in barely abridged chunks by Johnny Depp.
And it is, indeed, Depp that must take a lot of credit for the film’s success. His character, author surrogate Raoul Duke, has the potential to put off a lot of viewers, particularly those unfamiliar with Thompson’s back story. Duke’s behaviour flits between unacceptable and appalling for the majority of the film. His actions are unreasonable, and he speaks in a drawl that takes some effort to tune into. Played by Depp, though, he is always likeable, regularly funny and somewhat charming (it helps that his sidekick is the far more amoral Dr Gonzo, played by a fattened Benicio Del Toro). Depp spent a lot of time with Thompson in preparation for the role; it’s Thompson’s car he drives and Thompson’s cigarette holder that remains perpetually clamped between his teeth. He even let the author shave his head to emulate Thompson’s distinctive receding hairline. The effort clearly paid off, though. If it’s not the most nuanced performance Depp has given, it’s certainly one of the most fun.
THE RUM DIARY is in many ways both similar and dissimilar to FEAR AND LOATHING. Though it contains the same unmistakable voice of Hunter S Thompson it is driven more by story and character, and is generally less surreal – a book about rum, rather than mescaline. Written in the sixties, it details the journalism career of Paul Kemp, another Thompson stand-in, who moves to Puerto Rico for work. Though it doesn’t have the “voice of a generation” claim to fame of FEAR AND LOATHING, Thompson’s unique writing is still terrific, and its emphasis on story might make it an easier introduction to the author than FEAR AND LOATHING. And like its more famous follow-up (THE RUM DIARY was written in the early sixties, though remained unpublished until 1998), it had a long journey to the big screen that seemed like it might never happen.
Again, the source novel just needed to find the right director. Gilliam’s ex-Python credentials and string of bizarre, interesting films made him a smart choice for the job. But for this particular tale of self destruction, a different style was needed. Bruce Robinson’s writing career covered some deeply personal places, most famously in cult classic WITHNAIL & I, essentially a darkly comic chronicle of his own alcoholism. THE RUM DIARY is Robinson’s first film as director since 2011, and based on his personal history, one could assume that he has found some connection with Thompson’s work. And indeed, just as Gilliam’s incredible visual sense and surreal ways were a match for FEAR AND LOATHING, Robinson’s ability to look inwards seems ideal for this film.
FEAR AND LOATHING was not a box office success, but it was never going to be. A film that not only details drug use but in many ways promotes it, with a morally dubious main character shot with Gilliam’s signature surreal touch was hardly going to be a smash, financially. But it found its second life on DVD. Hardcore fans of the original book (which can boast perhaps some of literature’s biggest devotees) can appreciate the fact that everyone involved clearly has a great deal of respect for the source novel, and the fact that such a tricky feat was pulled off in adapting the book in the first place. Lovers of Terry Gilliam will still recognise his signature style, which intertwines beautifully with that of Thompson (and illustrator Ralph Steadman, whose inimitable work sets the novel’s tone from its hallucinatory cover). And fans of somewhat odd cinema can simply enjoy a darkly funny (but meaningful) ride – a road trip, in the most punful of senses. FEAR AND LOATHING, and by extension (to an extent) Hunter S. Thompson has demonstrated that it can attract an audience, and with the increased star power of its lead actor and Thompson’s cult following, the numbers may be more promising for the upcoming release.
THE RUM DIARY may not be as era-defining or important a work as FEAR AND LOATHING, but it seems worthwhile, just for its two comebacks. More importantly perhaps, it is fantastic to see the man behind WITHNAIL & I getting back to work, and on a project as interesting and unhinged as this. It is almost as exciting, though, just to see Johnny Depp returning to a Hunter S. Thompson project. A mid-range actor at the time, he went on to appear in a film franchise called PIRATES OF THE CARIBBEAN and subsequently became absolutely enormous. But though Raoul Duke may not be his career highlight, it is clear that Depp is enamoured with Thompson’s writing. The two maintained a friendship after the film, and Depp even stumped up the cash for Thompson’s final wish – for his ashes to be fired from a giant cannon (some of which you can see in the Thompson documentary GONZO; it’s pretty amazing). Whether THE RUM DIARY is a huge hit, a cult classic or a mild disappointment, it is heartening to see that Thompson’s work is still valued, and that major Hollywood stars are still willing to take a swing on a project with personal significance.
