A touching, magical film, that tells it's story over a soundtrack so intimately beautiful that it burns. As we watch everything unfold, there is a despairing sense of transience, only slightly dispelled by the depth of our protagonists' need for each other. Figgis' direction is top-notch, as his use of the camera and score lure us into this story of two people in desperate need of love. It is a credit to him that once the final credits have rolled, we won't soon forget what we saw.
Ben Sanderson is a man in a state of hopelessness. He is a reckless alcoholic with no sense of value on his life. After he loses his job, he sets out to Las Vegas where he plans to drink himself to death with his severance pay. Sera is a prostitute who has seen and done it all. After a chance meeting with Ben on the streets of Las Vegas where he brings her to his motel not for sex, but for conversation, she begins to crave his company. Soon, they begin to see each other regularly and accept each other for who they are: Ben as a drunk and Sera as a prostitute.
The relationship between Ben and Sera, though by all means unconventional, is every bit touching. The film doesn't condone what either of them does, but rather shows the ill-effects of their lifestyles and how it affects their relationship. Sera's line of work has put her in a position where she is seeking companionship - someone who actually cares about her. Ben's alcoholism inhibits any attempt at a real relationship, as his alcohol dependency leaves his behaviour quite unpredictable. As we watch this shaky union unfold, we know that it must eventually come to an end, but like Ben and Sera, we enjoy it while it lasts.
The performances by Nicolas Cage and Elisabeth Shue are nothing short of superb. They both capture the heart and soul of their characters and deliver equally substantial turns. Few performances in '95 have been able to grasp what these two do here. The soundtrack is also a work of art, as it preserves each tender moment ensuring that we understand the desperation underneath it all.
I have generally regarded 1995 as the crowning point of filmmaking in the 90s, and possibly my favourite year for films of all-time, and Leaving Las Vegas does nothing to quell that notion. In fact, it represents one of the finest examples of the year's best and is deserving of every bit of critical appreciation. Once you've been drawn in, you will not soon want to leave.
♥♦♠♣ 9/10
© 2007 Kim Bartlett
Ben Sanderson is a man in a state of hopelessness. He is a reckless alcoholic with no sense of value on his life. After he loses his job, he sets out to Las Vegas where he plans to drink himself to death with his severance pay. Sera is a prostitute who has seen and done it all. After a chance meeting with Ben on the streets of Las Vegas where he brings her to his motel not for sex, but for conversation, she begins to crave his company. Soon, they begin to see each other regularly and accept each other for who they are: Ben as a drunk and Sera as a prostitute.
The relationship between Ben and Sera, though by all means unconventional, is every bit touching. The film doesn't condone what either of them does, but rather shows the ill-effects of their lifestyles and how it affects their relationship. Sera's line of work has put her in a position where she is seeking companionship - someone who actually cares about her. Ben's alcoholism inhibits any attempt at a real relationship, as his alcohol dependency leaves his behaviour quite unpredictable. As we watch this shaky union unfold, we know that it must eventually come to an end, but like Ben and Sera, we enjoy it while it lasts.
The performances by Nicolas Cage and Elisabeth Shue are nothing short of superb. They both capture the heart and soul of their characters and deliver equally substantial turns. Few performances in '95 have been able to grasp what these two do here. The soundtrack is also a work of art, as it preserves each tender moment ensuring that we understand the desperation underneath it all.
I have generally regarded 1995 as the crowning point of filmmaking in the 90s, and possibly my favourite year for films of all-time, and Leaving Las Vegas does nothing to quell that notion. In fact, it represents one of the finest examples of the year's best and is deserving of every bit of critical appreciation. Once you've been drawn in, you will not soon want to leave.
♥♦♠♣ 9/10
© 2007 Kim Bartlett
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