A study of retribution Only God Forgives mixes the aesthetics
of Asian cinema with the narrative drive of a western and the arch high-art of European
auteurism. Sumptuously red, floral and lit with the precision of an operating
theatre and the incisions and amputations to match, Nicholas Winding Refn has
created a stark and stylised canvas on which to project a familiar familial
revenge tragedy. Whilst Shakespearian in scale and tone it’s the visual
language not the prose that drives the plot. Lingering that little bit longer
through Mondrian patterns formed by windows, doorways and alleyways Winding
Refn gives us time to look behind the eyes before we are exposed to the
actions.
Ryan Gosling reduces the word count and increases the ice-blue
stare and facial placidity as Julian, leaving the verbals to the flamboyant,
vicious tongue of Kristin Scott Thomas as his mother, Crystal. From the moment
she lands in Bangkok to bury her first-born son she dominates all around her,
most notably her clearly second favourite offspring. It's surprising, immaculate
and award worthy support.
Making up the triumvirate Vithaya Pansringarm is avenging
angel Chang. Wielding authority and a much more nebulous power, comfortable as
torturer and no mean dude on the karaoke machine he plays nemesis, teacher and patriarch
to Julian.
As revenge begets revenge and the stakes and body count increase
there is seemingly only one way this is going to end. However following an
early third-act showdown between the male protagonists, the recognition of
their warped reliance takes us in a different direction.
Julian figuratively and literally reclaims himself from his matriarchal
dominance in a stunning denouement.
9/10
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