Director: Nicolas Winding Refn.
Cast: Ryan Gosling, Kristin Scott Thomas, Vithaya Pansringarm, Yayaying Rhatha Phongam, Sahajak Boonthanakit, Gordon Brown, Tom Burke.
Running time: 90 minutes.
Certificate: 18.
Synopsis: Police Detective Chang (Vithaya Pansringarm) allows the father of a raped and murdered 16 year-old to take vengeance on her killer. However, the killer’s brother and mother are soon out for revenge and everyone involved finds themselves descending further into a never-ending cycle of revenge.
ONLY GOD FORGIVES sees the powerhouse duo of writer/director Nicolas Winding Refn and star Ryan Gosling reunite after the success of their indie hit, DRIVE. With a shocking poster campaign displaying the brutality of what is to be discovered in ONLY GOD FORGIVES and mixed reactions flying out of Cannes, it wouldn’t be surprising if the audience find it hard to read the film or sense its tone. The reactions from Cannes are completely understandable, as ONLY GOD FORGIVES often fails to decide whether it’s coming or going.
Most notable from the very opening scenes down to the end credits is the craft and care Refn has applied throughout. With sequences that replicate the tone of both Lynch and Kubrick, Refn utilises colour, distinct shot composition and a truly powerful score from composer Cliff Martinez. His score is at times classical and feels at one with the images, but he also manages to go experimental without compromising the visuals. At one point feeling like a cut TRON track, it works by heightening the excitement and tension. The mise-en-scene is perfectly orchestrated so as to further develop the religious iconography which plays in nicely with the cyclical nature of revenge and both the psychological and physical harm it causes. As a metaphor for a descent into the lower depths of hell, a lot of the nighttime scenes that deal with perversion are saturated in a disorientating red. When paired with Refn’s penchant for framing characters using buildings and doorways, this all equates to a hypnotic allure that is probably reminiscent of Thailand’s capital itself; there’s always darkness below the surface, and Refn shoves our faces into this bleakness.
Looking past the wonderful construction, there lies two major downfalls. Constantly bringing the story to a standstill, they become unintentionally funny and bring about a level of absurdity which doesn’t enhance the fantastical and dreamlike elements, but lampoons them instead. Firstly, Kristin Scott Thomas’ character is delivered with all the subtlety of a wrecking ball, when what is really needed is some manipulative subtlety. As a mother who has lost her first-born and wants her younger son to avenge his death, you would think a Shakespearean eloquence of Lady Macbeth or Othello’s Iago may be in store. Instead, she is left with awkward lines that feel as though they were written by an adolescent exploring swears and insults for the first time.
The second major problem is Ryan Gosling and his dry and lifeless performance. Whether finding out about his brother’s death, smashing glass in people’s faces or listening to his mum detailing how much smaller his cock was compared to his deceased brother, Gosling gives us a single facial expression with flat delivery of lines. This would be fine if there were any hint of an internal struggle, but there isn’t. In both cases the main culprit is the script itself, as Thomas has no choice but to chew her way through embarrassing dialogue and Gosling just has to sit around and look pretty, which admittedly he does very well. Thomas and Gosling are the first scuff on a brand new pair of shoes. The shoes still look beautiful and serve their purpose, but you just can’t ignore that unsightly mark.
It must also be noted that Gosling is neither the protagonist nor the main focus of the film. That honour goes to Thai actor Vithaya Pansringarm who gives a stunning turn as the chief of police. Like Gosling’s character he is mostly a silent force of nature who has a constant effect on his environment. Unlike Gosling, he repeatedly has interesting things to do, and seeing him practice his sword fighting against a beautiful Thai sunset amplifies his destructive power on his surroundings. You can always see the inner turmoil behind his eyes, and, after engaging in devilish acts, he soon takes to a karaoke stage as his comical and moving emotional outpour. Pansringarm is a powder keg that constantly explodes before reassembling himself, and although his actions are often justified, they are never excused. It’s a role that requires subtlety, dedication and poise, to which all three are met perfectly. He and his police force become the focus in act two, almost as if the film itself becomes bored with its big name stars – and it’s all the better for it.
Moving at a blistering pace and featuring one of the best shot, choreographed and most engrossing fight sequences of recent years, ONLY GOD FORGIVES fails to be boring. Unfortunately, it’s a complete mixed bag of unforgettable artistic expression and stunning visuals, as well as some misguided performances and vapid characters. At times bordering on greatness while also relishing in absurdity, it is a beautiful mess that is both rewarding and infuriating.
ONLY GOD FORGIVES is released in UK cinemas on August 2nd.
