Fear
and Loathing in Las Vegas (***)
review by Jon
Waterman
Raoul Duke and Dr. Gonzo, a print journalist and his attorney,
head to Las Vegas to cover a bike race called the Mint 400.
Duke is locked and loaded with pen and paper and a suitcase
full of various illegal substances. They partake in the suitcase’s
offerings throughout and the race doesn’t seem to be
so important anymore. Now they have to deal with everything
going on around them (real and not) and find new ways to elude
the cops for things they may or may not have done.
Dr. Hunter S. Thompson’s classic novel gets new life
in director Terry Gilliam’s film adaptation. Gilliam
is the man behind such visual feasts as “The Adventures
of Baron Munchausen” and “Brazil.” “Fear
and Loathing” proves to be no exception. The hallucinogenic
journey provides the perfect backdrop to showcase Gilliam’s
style. We’re treated to myriad lighting and color schemes,
which contrast various locales and assumedly follow drug use
patterns. The camera work is dynamic yet hardly ever frantic.
It warps what the characters see without becoming one itself.
In addition to the fantastic directing, the acting ranks right
up there. Johnny Depp as Duke and Benicio Del Toro as Gonzo
are both incredible. They have to show these characters trying
to fit in and come off as sober citizens when around the public
while still keeping the paranoia and physical and mental twitches
in the background. They also have to show the drug induced
emotions and reactions in full force while locked away in their
hotel rooms. It’s fascinating to watch them handle what
could very well have been over-the-top portrayals in a subtler
yet fully effective manner.
Now, despite how well made the film is, I still couldn’t
get into it. And it’s tough to figure out why. Maybe
it’s because I can’t relate to the mind altered
state or the desire to achieve it constantly. The movie shows
these guys under the influence of something at all times. We
don’t see their true selves and maybe they don’t
exist. As such, there’s no comparison and nothing to
identify with. The movie isn’t solely about drugs. It’s
about the death of an era (set in 1971) and a lifestyle and
going out on one last hoorah. The narration by Raoul, lifted
from the novel, is extremely eloquent and more profound passages
should have been more frequent and prominent. Overall, it’s
easy to watch the two-hour trip and have fun doing it, but
at no point could I immerse myself fully and be there with
them.
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