{"id":3419,"date":"2013-07-18T13:25:08","date_gmt":"2013-07-18T20:25:08","guid":{"rendered":"http:\/\/moviesharkdeblore.com\/site\/?p=3419"},"modified":"2014-10-16T14:34:55","modified_gmt":"2014-10-16T21:34:55","slug":"only-god-forgives","status":"publish","type":"post","link":"https:\/\/behindthelensonline.net\/site\/reviews\/only-god-forgives\/","title":{"rendered":"ONLY GOD FORGIVES"},"content":{"rendered":"

By: debbie lynn elias<\/strong><\/p>\n

One can always count on Nicolas Winding Refn to deliver something provocative, evocative and eclectic that\u2019s guaranteed to be talked about<\/strong>.\u00a0 As we saw with Drive, partnering Refn and Ryan Gosling is just an added insurance policy, and now with ONLY GOD FORGIVES the result is already highly divisive.\u00a0 As with the tacitly powerful and compelling Drive<\/em> which delivered over-the-top scene stealing\u00a0 performances by supporting actors Ron Perlman and Albert Brooks, ONLY GOD FORGIVES can boast a mind-blowing Oscar-worthy turn by Kristin Scott Thomas which together with Larry Smith\u2019s also Oscar-worthy cinematography<\/strong> overshadows a less than stellar showing by Gosling.<\/p>\n

\"only<\/p>\n

Brothers Julian and Billy live in Bangkok working on the outside as muy-thai fight managers and promoters while using the \u201clegitimate\u201d work as a cover for the family drug-smuggling enterprise.\u00a0 As different as night and day, Julian and Billy are not at all what you\u2019d call close.\u00a0 Where Julian is the more practical and methodical, Billy is the epitome of violent rage, often leaving Julian to clean-up after him.\u00a0 But one thing Julian can\u2019t clean-up – Billy\u2019s rape of a 14-year old prostitute and subsequent murder by carving.<\/p>\n

With his own patented brand of Thai justice, Chang, the lead investigator on the murder and someone who sees himself almost as an avenging angel, doesn\u2019t arrest Billy but rather, brings in the dead girl\u2019s father, lets him carve up Billy in eye-for-an-eye fashion, but then chops off the hands of the father.<\/p>\n

\"only<\/p>\n

With her #1 son now dead as the result of what she deems a brutal murder, the brothers\u2019 mother, Crystal, arrives in town determined to force Julian to seek revenge on her behalf and avenge Billy\u2019s murder.\u00a0 With no love loss between mother and son, with every passing moment the level of resentment and dare we say, hatred, Julian has for his mother becomes more than apparent.\u00a0 It\u2019s clear that Billy was her favorite child and Julian nothing but leftovers for her.\u00a0 Nevertheless, Julian attempts to do his duty and fulfill his mother\u2019s orders.\u00a0 He has his men go after Chang (who is blamed for Billy\u2019s death because he allowed the victim\u2019s father to kill him) but to no avail.\u00a0 He then must face not only Chang, but his mother as vengeance comes to an explosive conclusion.<\/p>\n

\"only<\/p>\n

Taciturn yet again, but moreso in ONLY GOD FORGIVES than in any other role, Gosling fails to engage with the audience or deliver something \u201cnew\u201d instead creating an uneven presence on the screen.\u00a0 Quite honestly, I am beginning to question Gosling\u2019s comprehensive reading skills given that in his most recent films, in particular, Drive, The Place Beyond the Pines, and now, ONLY GOD FORGIVES, there is little to no dialogue for Gosling.\u00a0 This begs the question, although Refn freely admits to liking \u201cthe language of silence\u201d when constructing his films.\u00a0 Here, as Julian, it reaches a point with Gosling\u2019s\u00a0 performance that his tacit deliberateness and drawn out slow methodology becomes tedious.\u00a0 One interesting aspect of Julian, however, is the grace and forgiveness that he shows for those that, despite his mother’s instructions, he doesn’t kill because his brother’s death was not by their hand.\u00a0 While this character trait goes more to the script, Gosling eloquently and emotionally conveys this aspect of Julian.\u00a0 According to Refn, when Gosling discussed ONLY GOD FORGIVES with him, he described it as \u201cIf Drive is heaven, then this is hell.\u201d\u00a0 Deeming Gosling \u201ca very brave actor willing to take on challenges\u201d, Refn has nothing but admiration for him for tackling this film.\u00a0 Perhaps the two scenes in the film that define Gosling\u2019s bravery best involves a climactic moment with Chang\u2019s daughter where, in total silence, we are able to see Julian\u2019s continual internal struggle to find peace, to become better than what his mother has made him to be.\u00a0 On the other hand, a show-stopping exhibition of calm rage between Gosling\u2019s Julian and Scott Thomas\u2019 Crystal just explodes with raw emotion.<\/p>\n

\"only<\/p>\n

As Crystal, Kristin Scott Thomas is insanely delicio<\/strong>us channeling the harsh look of a 1970’s Jerry Hall and overdone, over-bleached Donatella Versace. The look, the attitude – deliciously malevolent and perverted.\u00a0\u00a0 Not the first person one would think of for this role, Refn laughingly notes, \u201cShe had it in her. . . One of the things when you make films like this is you have to be very conscious of the cheaper you make it, the less pressure there is on you.\u00a0 And so, I didn\u2019t have money for any stars or anything like that, so I was casting unknown actresses.\u00a0 And then, I got a call asking if I wanted to meet with Kristin Scott Thomas who\u2019s now KST, and I was like, \u2018Yeah, absolutely, if she would be interested.\u00a0 What would she cost?\u2019\u00a0 So we met in Paris.\u00a0 I\u2019ve only seen her from the movies.\u201d\u00a0 As if KST\u2019s prior performances weren\u2019t enough of a reason to cast her as Crystal, important to Refn was that \u201c My mother really likes her.\u201d\u00a0\u00a0 On meeting KST, Refn immediately \u201csaw that\u00a0 she has no problem turning on the bitch switch.\u00a0 And she wanted to do something that I think was very different to what she had done before.\u201d\u00a0 But for Scott Thomas, it was essential that she \u201ctransform myself.\u201d\u00a0\u00a0\u00a0 One of the major ways she transforms herself beyond her physical appearance is with her dialogue.<\/strong>\u00a0 Never would one expect the words \u201ccum dumpster\u201d to come rolling off her tongue with acrid fluidity when addressing Julian\u2019s \u201cgirlfriend\u201d who\u2019s come to dinner with them.<\/p>\n

\"only<\/p>\n

Crucial to the construct of Crystal, Refn gleefully explains how the phrase \u201ccum dumpster\u201d came to be.<\/strong>\u00a0 \u201cWell that word came about because I shoot films in chronological order, which means it\u2019s scene 1, 2 and 3.\u00a0 I do that on my films because I like the part about the canvas that you can shape and change and maneuver and alternate a bit like a picture and repaint a picture if you don\u2019t like it or you need to change it. . .I was sitting with Ryan talking about what would his character like to hear for this specific scene, what would be needed for his reactions and so forth, and the idea [came about] that the mother degrades him sexually by talking about his genitals in front of this girl.\u00a0 It\u2019s like the worst nightmare for any man to bring home a nice Asian girl and his mother just devours her. . .So I said to Ryan, because English is my second language, \u2018What\u2019s the worst thing that you can call a woman in America?\u2019 and he said, \u2018I\u2019ll give you a list.\u2019\u00a0 So he came up with a list and what really worked out was the word \u201ccum dumpster,\u201d which he had to explain to me what it meant the first time around. . . The next part was going to KST [Kristen Scott Thomas] and telling her that she had to say things like this.\u00a0 She\u2019s at an age where you may be a little bit sexually repressed.\u00a0 So, for her to say those words, she was a bit like, \u2018Oh\u2026\u2019\u00a0 And then, she had to train with a speech coach because she is English and she very much works on dialogue. So they did do sessions with her like, cum dumpster, [demonstrating various ways to pronounce the words] where they have to feel the singing of the voice because it\u2019s in there and she would walk on set going, [a dead on KST mimic by Refn here] \u2018Cum dumpster.\u00a0 Cum dumpster.\u2019\u00a0 It was the most used word that entire day.\u00a0 It took her six takes to even get it right.\u00a0 But then it became quite fun.\u201d<\/p>\n

\"only<\/p>\n

Fascinating performance comes from Vithaya Pansringarm <\/strong>as the police chief\/avenger Chang. From a ninja stealthiness to the stick-up-his-ass posture and stride to the primness of the way he sings in a nightclub to the paternal softness with his daughter, Pansringarm delivers a lovely ambiguity of character.\u00a0<\/strong> Interesting is that when Pansringarm sings, there is no subtitling of the lyrics.\u00a0 For Refn, the omission of English subtitles was deliberate believing \u201cit would almost be ruining the image if you suddenly start subtitling something that\u2019s more about the sound in a way.\u00a0 But specifically, the songs are about vengeance coming.\u00a0 They\u2019re very much folk tales because they\u2019re based on Isaan music, some of it, which is part of Thailand\u2019s country and western music, but the lyrics a lot of the times are very much fable stories.\u201d<\/p>\n

Written and directed by Nicolas Winding Refn as a story predicated on reveng<\/strong>e, it stands to reason that the visual palette will be strong, forceful and violent.\u00a0\u00a0 And it is.\u00a0 So much so that someone needs to start the Oscar campaign now for DP\/Cinematographer Larry Smith and Production Designer Matthew Newman.\u00a0 Mind-blowing perfection.<\/strong> The calculated deliberateness of the lighting and the color palette of blood red ringed with gold, contrasted with the light and beauty of police chief Chang\u2019s home and his little girl – those visuals and that tonal bandwidth tells more about the story and the film than anything else. This is a cinematic vision at its finest.<\/strong><\/p>\n

\"only<\/p>\n

Production design stuns<\/strong>, particularly in the hotel suite design, the corridors of the “fight club”, the wallpaper of the headless dragons all intertwined with jagged spiked teeth protruding every edge of the dragon bodies. Lovely rapier elegance that matches the color and cinematograph<\/strong>y. The soft serene saturated beauty of the karaoke club with the soft blue light, twinkle lights, the disco ball look of stars swirling across the patrons and walls as if in a dream. Stunning. Almost ethereal.<\/p>\n

When it came to designing the visual tone, according to Refn, \u201c I had this notion of going like this, which was the erection, the extension of a male power, into becoming this, which was submission.\u00a0 I thought, \u2018There\u2019s a movie in this movement.\u2019\u00a0 I like that way of making film because it\u2019s like painting a picture.\u00a0 You start one place and then it moves and mutates.\u00a0 And then, practically, when I wanted to shoot the movie in Bangkok, it was because the nights of Bangkok are very particular.\u00a0 They\u2019re like a magical landscape because the city itself is so enormous and insane, and you don\u2019t understand how there\u2019s logic in this city.\u00a0 The buildings are so old and new, and they\u2019re very mysterious because the heat is so intense that nobody ever opens windows, so almost everything is just closed down.\u00a0 The lighting and the fluorescentness of it is the whole Asian acceptance of the spiritual world next to the world of reality going hand in hand as something that’s never explained or it\u2019s just accepted.\u00a0 Those are very interesting concepts to make a movie about.\u201d<\/p>\n

With the \u201cslice and dice\u201d and piercing violence, each act is mesmerizing to watc<\/strong>h.\u00a0 Refn builds the tension with the calculated deliberateness<\/strong> of the film as a whole but then with the quickness of each slice of the ninja saber or stealthy one-elegant-thrust of a piercing stab with skewers and paring knives in the club (very very very cool scene by the way) one is caught off guard and taken by surprise with the violence that comes from such elegant movement.<\/p>\n

Hand in hand with establishing the visual tone is Matthew Newman\u2019s editing.\u00a0 Heart-stopping, it is particularly dramatic and effective in eliciting powerful emotional response with climactic scenes of violence, creating a visceral contrast with serene beauty.<\/strong><\/p>\n

\"only<\/p>\n

Icing on the cake is a score by Cliff Martinez.\u00a0 Because there is so little dialogue, sound design and music are critical to the film with each element becoming a character unto itself<\/strong>.\u00a0 According to Martinez, \u201cMy biggest challenge in this film, aside from the general idea that it was almost a silent film, which always draws much more attention to the music, was Nicolas gave me the scene of the one-armed man telling Ryan Gosling the story of what was then called the Angel of Vengeance or Chang, the Lieutenant.\u00a0 When Nicolas sent me the scene, I called him up.\u00a0 I said, \u2018Okay, now you\u2019ve gone too far.\u00a0 Not only is there no dialogue in the film, but I see the guy\u2019s lips moving and there\u2019s still no dialogue.\u00a0 What\u2019s up with that?\u2019\u00a0 Nicolas said, \u201cYeah, it didn\u2019t really look right.\u00a0 He kept pronouncing it Angel of Wengeance and it had comical overtones and we can\u2019t use it.\u2019\u00a0 So I said, \u2018Okay, so it\u2019s up to me to tell the whole story of this mythical kind of\u2026he\u2019s supposed to be a supernatural or semi-supernatural superhuman character or a myth, a legend that may or may not even exist.\u2019\u00a0 So it was left to me to do that.\u201d\u00a0 Influenced by a number of temp scores suggested by Refn as reference, a stand-out for Martinez in helping develop the ONLY GOD FORGIVES compositions is Bernard Hermann\u2019s score for The Day the Earth Stood Still.\u00a0 \u201cIn the general direction as the general approach that you want the film to go in\u201d, Martinez infused the style of Hermann with \u201ca fair amount of my musical identity as well.\u201d<\/p>\n

With a Malickesque feel in its organic philosophy, ONLY GOD FORGIVES is a visually sumptuous feast, deliberate and controlled in its design, calculated to incite disturbing emotion and punctuated with a scene stealing performance by Kristin Scott Thomas.<\/strong>\u00a0 No one needs forgiveness for\u00a0 ONLY GOD FORGIVES.<\/p>\n

Written and Directed by Nicolas Winding Refn<\/p>\n

Cast:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Ryan Gosling, Kristin Scott Thomas, Vithaya Pansringarm<\/p>\n","protected":false},"excerpt":{"rendered":"

By: debbie lynn elias One can always count on Nicolas Winding Refn to deliver something provocative, evocative and eclectic that\u2019s guaranteed to be talked about.\u00a0 As we saw with Drive, partnering Refn and Ryan Gosling is just an added insurance policy, and now with ONLY GOD FORGIVES the result is already highly divisive.\u00a0 As with […]<\/p>\n","protected":false},"author":2,"featured_media":3426,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[36,9],"tags":[559,565],"class_list":["post-3419","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-movies","category-reviews","tag-drama-thriller","tag-only-god-forgives"],"yoast_head":"\nONLY GOD FORGIVES - Behind The Lens Online<\/title>\n<meta name=\"description\" content=\"Behind the Lens is your home for in-depth movie reviews, filmmaker & celebrity interviews, and more, all by industry professional and film critic debbie lynn elias...\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/behindthelensonline.net\/site\/reviews\/only-god-forgives\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"ONLY GOD FORGIVES\" \/>\n<meta property=\"og:description\" content=\"Behind the Lens is your home for in-depth movie reviews, filmmaker & celebrity interviews, and more, all by industry professional and film critic debbie lynn elias...\" \/>\n<meta property=\"og:url\" content=\"https:\/\/behindthelensonline.net\/site\/reviews\/only-god-forgives\/\" \/>\n<meta property=\"og:site_name\" content=\"Behind The Lens Online\" \/>\n<meta property=\"article:published_time\" content=\"2013-07-18T20:25:08+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2014-10-16T21:34:55+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/behindthelensonline.net\/site\/wp-content\/uploads\/2013\/07\/only-god-forgives-1e.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"380\" \/>\n\t<meta property=\"og:image:height\" content=\"380\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"debbie lynn elias\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"debbie lynn elias\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"11 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/reviews\\\/only-god-forgives\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/reviews\\\/only-god-forgives\\\/\"},\"author\":{\"name\":\"debbie lynn elias\",\"@id\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/#\\\/schema\\\/person\\\/2d9b602095eb0ce3d363efb75ad0b5d4\"},\"headline\":\"ONLY GOD FORGIVES\",\"datePublished\":\"2013-07-18T20:25:08+00:00\",\"dateModified\":\"2014-10-16T21:34:55+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/reviews\\\/only-god-forgives\\\/\"},\"wordCount\":2294,\"publisher\":{\"@id\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/reviews\\\/only-god-forgives\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/wp-content\\\/uploads\\\/2013\\\/07\\\/only-god-forgives-1e.jpg\",\"keywords\":[\"drama-thriller\",\"ONLY GOD FORGIVES\"],\"articleSection\":[\"Movies\",\"Reviews\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/reviews\\\/only-god-forgives\\\/\",\"url\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/reviews\\\/only-god-forgives\\\/\",\"name\":\"ONLY GOD FORGIVES - 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