Nicolas Cage stands as one of the most prolific stars in Hollywood, known for his remarkable versatility and a career that spans a wide array of genres. His legendary inability to turn down any starring role offered has led him to appear in a significant number of stinkers, but also allowed him, particularly in recent decades, to shine in intriguing and “out there” films. One such film is The Bad Lieutenant: Port of Call New Orleans, a 2009 crime drama directed by Werner Herzog.
The film premiered at the Venice Film Festival, where it garnered considerable attention due to its controversial title. Many viewers mistakenly assumed it was a sequel or a remake of Abel Ferrara’s 1992 crime drama Bad Lieutenant, despite the two films sharing only superficial similarities in their protagonists. This misunderstanding caused Ferrara to express his displeasure in ways that sparked feud with Herzog, with two famous directors mending their fences only years later.
The Bad Lieutenant: Port of Call New Orleans opens with a prologue set New Orleans during devastating Hurricane Katrina in 2005. We are introduce to police detective sergeant Terrence McDonagh, portrayed by Cage, who performs a heroic act by rescuing a prisoner left behind in an abandoned police station. This act earns him a promotion to lieutenant but also results in a debilitating back injury that leads to addiction to painkillers. Six months later, McDonagh's life spirals into addiction as he abuses his position in order to obtain drugs for himself and his girlfriend, Frankie (played by Eva Mendes), who is a high-priced escort. Despite his personal struggles, he remains determined to investigate the brutal murder of a Senegalese immigrant family, with the trail leading to vicious drug lord Donald “Big Fate” Goodshaw (played by Alvin "Xzibit" Joiner). As he tries to secure witnesses and evidence, McDonagh also has to deal with dysfunctional family and gambling debts.
Comparisons between Port of Call New Orleans and Ferrara's original Bad Lieutenant are inevitable, particularly regarding their shared focus on drug-addicted police detectives. However, the tonal differences between the two films are stark. Ferrara's work is characterised by its serious and dark drama that can be difficult to watch at times. In contrast, the screenplay by William Finkelstein, television veteran specialised in crime dramas, takes a lighter approach; it presents McDonagh’s increasingly outrageous antics as sources of absurdist humour, turning the whole film into dark comedy.
Cage’s performance is central to the film’s impact; he embraces his character’s descent into madness with his typically unrestrained fervour. His portrayal of McDonagh is both outrageous and nuanced, supported by an interesting supporting cast that includes notable names such as Val Kilmer, Fairuza Balk, and Michael Shannon. Herzog’s direction complements Cage’s performance beautifully; he brings his own unique vision to the film, reminiscent of his collaborations with legendary actor Klaus Kinski, another actor specialist for playing madmen and generally unhinged characters.
While Herzog may seem an unusual choice for directing a contemporary urban crime drama—given his reputation for films set in exotic locations—he bravely tackles this challenge and delivers a film that is quite satisfying. His ability to create an authentic sense of place within post-Katrina New Orleans enhances the narrative, immersing viewers in a city grappling with its own identity amidst recovery.
Despite Herzog’s strengths as a director, some aspects of Port of Call New Orleans are lacking. Certain directorial choices may appear odd or out of place; for instance, McDonagh's hallucinations involving iguanas serve as surreal moments that can confuse the audience. Additionally, Peter Zeitlinger’s cinematography often veers too dark for this type of film. The music score by Mark Isham is almost imperceptible at times, further diminishing the film's potential emotional impact.
Pacing issues also plague the film; at just over two hours long, it occasionally feels stretched thin. However, patient viewers will be rewarded with an unexpectedly ironic ending that both confirms and subverts clichés associated with crime dramas.
While Bad Lieutenant: Port of Call New Orleans may not be among the best films in either Cage's or Herzog's filmographies, it is a film that deserves a recommendation for viewers who appreciate unconventional crime dramas with a dark sense of humor.
RATING: 6/10 (++)
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