DRAGGED ACROSS CONCRETE
US, 2019, 159 minutes, Colour.
Mel Gibson, Vince Vaughn, Tori Kittles, Michael Jai White, Thomas Kretschmann, Jennifer Carpenter, Laurie Holden, Don Johnson, Udo Keir, Fred Melamed.
Directed by S.Craig Zahler.
This is a very strong police drama. It has received strong critical support but damning blogs from several hundred trolls on the IMDb. This review is in support of the critics.
This is also quite a long film, taking its time in introducing characters, building up situations, inviting the audience to be patient observing, sharing a long wait in a stakeout, quite a number of stakeouts in fact, spending a lot of time in getting to know characters (and wondering where they will fit into the overall scheme), sitting in cars with the central two police officers, watching, waiting, following at a distance – and then, a grim, sometimes gruesome, climax to the whole film. Although, there is a moment’s cheerfulness just before the final credits.
It is hoped that the previous paragraph gives some indication as to whether the film is one that would be sought out or avoided. While no character is dragged across concrete, this gives a tone to the film – ‘knife held cutting through intestines to find a swallowed key’ might be too grim a title but it would be more accurate!
The writer-director, novelist, band member, writer of songs and musical scores, S.Craig Zahler, is a cult director for some enthusiasts. His two previous films were strong and striking, each with visceral titles, Bone Tomahawk and Brawl in Cell 99.
The central focus of the action is on the two policeman, very old school, tough, staking out an apartment, brutal treatment of a suspect (filmed on video with the reports sent to TV networks to expose police violence). They are played by a very serious Mel Gibson, supported by Vince Vaughn. They are suspended, both needing financial support, especially Gibson’s Ridgeman whose wife is a former police officer but incapacitated, living in a very rough neighbourhood where his teenage daughter is routinely attacked. Vaughn’s Tony, on the other hand, is investing in a diamond engagement ring.
We have first been introduced to Henry (Tori Kittles) getting out of prison, confronting his mother who was living by prostitution supporting his younger disabled brother. But, Henry keeps his criminal contacts and goes into action. Ridgeman also wants to go into action, makes contact with a secretive criminal boss and stakes out a suspect, thinking that it was drug dealing but, in fact, as we see, it is an elaborate bank robbery, taking gold, but leaving dead behind.
The aftermath of the robbery, the pursuit of the getaway car, the long drive along the highway to a rendezvous, all bring the characters together for a final confrontation which is not all as might have been expected (except for the vicious and violent confrontations).
The cinematography is dark along with the themes. Performances are strong, the action dramatic even as it slows in pace. One of the most interesting features of the screenplay is that it is practically four-letter-word-free, the writer taking the trouble to actually write dialogue, dialogue which includes some rather upmarket vocabulary choices (assuage, endeavour, metaphysical…), A reminder that intelligent dialogue is preferable to lazy swear-substitute writing.
So, not for everyone, but certainly for those interested in genre, especially police genre, portraits and action.
1. The title? The tone?
2. A dark film, the lighting, the tone? Crime, consequences? Police, action, violence?
3. The American city, the neighbourhoods, apartment blocks, police precincts and offices, the streets, highways, warehouses, bank, the location for the final climax? The river? The graves? The musical score?
4. Introducing Henry, getting out of jail, the sexual encounter, going home, the confrontation with his mother, ousting her client, his concern for his handicapped brother, playing computer games? Yet keeping his crime contacts, the discussions, going to work, vehicles and security, his friend, driving the getaway, the chase, the climax, his escaping to the roof of the building, the confrontation with Ridgeman? And a happy ending with the mansion for his mother and brother?
5. The two police partners, veterans, their experience, their violent style, the stakeout, the tactics, the man escaping through the window, Ridgeman and his foot on his head, threatening the girl, arresting her? The information? Their being videoed? The video sent to the media, the denunciations, the interview with the boss, Richman’s past partner, suspension?
6. Richman, his relationship with his wife, her being a former officer, her handicaps? His daughter, harassed in the streets? The need for money? An idea, making the contact with the shadowy boss, getting the information for a case?
7. Tony, his age, working with Ridgeman, buying the ring, his fiancee, the meal together, the invitation to partner Ridgeman, saying he was in until he was out? The questions? Agreeing?
8. The apartment, the stakeout, Tony eating, Ridgeman smoking, waiting? Phone calls? The arrival of the dealer? Contacts, plans?
9. The garage, the vans, the drivers, preparations for the robbery?
10. The story of the wife, anxious about her child, her husband and the chain on the door, attaching the baby, going to work, the staff meeting her, little shrine to her child, the suave manager, the robbers arriving, the reactions, whether to fund the police on not? The shootings, the taking of the gold, the dead bodies, her being taken hostage, in the back of the vein? Her being sent out to shoot, her death?
11. The following of the getaway van, the long drive, the drivers, their masks, the crew in the back with the gold? The long drive, the conversations?
12. The arrival at the destination, dark, the issue of the key, Henry, his escape, his companion being shot, swallowing the key, his death, the detailed probing of his intestines for the key, the siege in the van, the police attacking, Tony being shot, his having left the message for his fiancee? His death? The buildup to the confrontation between Henry and Ridgeman, using their wits, guns? The decisions about the gold?
13. The bodies, the new car, the guns, Richman being shot, his death? Concerned face family?
14. Henry, the gold, bearing the bodies?
15. The a script, the gold sent to Ridgeman’s wife?
16. The mansion for Henry and his mother and brother?
