![]() Music is almost constant, characters speak in non-sequiturs, and we’ve jumped to the next location before we can even figure out where we were before! It has a heady effect and before long you feel drunk on it-but the unpleasant kind of drunk, when you know you’ve had one too many, you can’t understand what people are saying, and you don’t remember how you got to where you are. Perhaps more disorienting than the VFX is Gilliam’s willingness to completely overwhelm our senses. It’s an excellent moment of practical effects and puppetry- not lifelike, just odd enough to be disconcerting. It’s not about what’s happening, it’s about the fear of what might happen.įear and comedy go hand in hand throughout the film, such as one striking scene which sees patrons of a glitzy bar transform into reptiles. It’s not so much that Gonzo can’t leave it, it’s that he’s worked himself up so much about it that he won’t do it. It’s simple, childish, and a perfect example of physical comedy. It might sound bleak, but Thompson’s sudden sobriety and frustration, and Gonzo’s nonsense is hysterical to watch-helped by Thompson pelting a piece of fruit at his attorney’s head before running out of the room.Īnother scene sees the friends attempting to debark a bar located on a carousel… while highly intoxicated, naturally. One hilarious encounter sounds less funny on paper-Gonzo is lying fully clothed in a bath begging Thompson to throw a tape player into the bath to electrocute him when Jefferson Airplane’s “White Rabbit” reaches its crescendo. Maybe that’s unsurprising given Gilliam’s history with the medium on Monty Python. In fact, the pair’s dynamic and energy often resembles a live-action cartoon. With a potbelly poking out of his tiki shirt and his moustache lying dead across his top lip, Del Toro looks very much like a cartoon. He put on 40lbs for the role and grew out his hair. We’re never granted access to a fully sober Thompson, and one wonders what teetotal Thompson would resemble. ![]() And, more impressive still, he capitalises on Depp’s excellent grasp of physical comedy.ĭepp’s Thompson bleats, shouts, flaps and falls-in a slapstick performance which the film is all the better for capturing. Gilliam uses Depp’s chameleonic qualities to make him look less like a movie star and more like a tourist from Arizona. Fear and Loathing in Las Vegas feels like a culmination of his work until that point, as well as a hint towards the large, mannered, inebriated performance that would define his career in the next decade. Following Cry-Baby (1990), Ed Wood (1994), and Dead Man (1995), by the late-1990s Depp was proving to be an adaptable Hollywood star who worked extremely well with auteurs. And that’s not hard, as the film is incredibly funny.ĭepp and Del Toro play off each other like a modern-day Laurel & Hardy, each taking turns to be the straight man, neither ever fully achieving coherence. but with Gilliam’s anarchic spirit, we’re invited to laugh at the degeneracy. In different hands, audiences might be asked to show concern for these crazy characters…. His bucket hat is his helmet and cocaine his gunpowder. Popping the trunk of their car, Thompson rattles off his cache of stimulants like it’s artillery and they’re two soldiers heading into battle. It only has fuel, and that fuel is drugs and booze. It’s a road trip movie, essentially, but as the two men speed along desert roads in a beat-up convertible, it soon becomes clear this one has no destination besides the literal. Thankfully this makes the film less of a didactic sermon and more of a funhouse nightmare. This approach claims an attitude of ‘I’ve been there so you don’t have to’, but in reality (if there is a reality to this story) their intentions feel murkier and less noble. The story, slim though it is, follows Thompson (Johnny Depp) and Dr Gonzo (Benicio del Toro) on a drug-soaked binge through Las Vegas, in a vain attempt to take the country’s pulse and report their findings to milquetoast readers. If that sounds like a dark path to consider, Terry Gilliam’s film leavens any potential heaviness with absurdist comedy and deliriousness. A deep dive without a safety net into debauchery and self-abuse. Thompson and his generously titled ‘attorney’ Dr Gonzo, it was hedonism. How does culture, or a sub-culture, react to the rug being pulled out from under it? For some, it was soul-searching for others, denial. Thompson’s landmark 1971 novel) isn’t interested in how America found itself in such a predicament, but rather the lost and empty wandering that came afterwards. You’ve bought the ticket and taken the ride… now what?įear and Loathing in Las Vegas (adapted from Hunter S. The 1960s have died a bloody death and a collective dream of a hopeful future’s been crushed under the boot of conservatism and greed. It’s the post-Vietnam United States of America.
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