Alcoholism has always been a great device in movies. Over the years there have been many successful films that deal with addiction to alcohol and the devastating effects that come with it (The Lost Weekend, When a Man Loves a Woman, Days of Wine and Roses, to name but a few). It is a serious issue and subject matter, so the films that appear to succeed when tackling the issue are the ones that treat it with the importance it deserves. In saying that, Mike Figgis' Leaving Las Vegas might well be the bleakest of the lot. It features a washed up writer named Ben (an Oscar-winning Nicolas Cage) who heads to Las Vegas with the sole purpose of drinking himself to death. There is little about him gradually succumbing to the disease or how it ruins his family life. It is simply a man submitting to a temptation he can't let go of.
For the most part the film is a twisted love story that revolves around self-destruction and the importance of dependency. Ben meets a prostitute named Sera (an Oscar-nominated Elisabeth Shue) who is just as wounded as he is, only she doesn't turn to drink because of it and forces herself to carry on. The two form a relationship that is genuine at its core, despite the fact that neither can change the other which is highlighted when Ben tells Sera that see can never ask him to stop drinking. This inability to change ultimately proves to be their downfall. Their relationship is equally chaotic and bittersweet. Drunken antics and frustration grow more apparent, but there is a clear love between them and in a way it is understandable why two broken people like this would be drawn together.
Given how character driven the film is, Cage and Shue are the very centrepiece of the entire film. Cage has always been able to play characters on the edge, but he has a tendency to delve into the excessive a little too frequently. That never happens here. He is completely believable in every expression and motion. It's a wonderfully measured performance as his drunkenness never goes too silly and contemplations never get too dour.
Shue is his equal in every way. She has always been an actress who has excelled at warmth and sincerity, and that really pays off here. She has such a strong expression of compassion whenever she is with Cage that it's very easy to forget that they are only acting. Julian Sands appears in the first half as Sera's pimp (unconvincing Latvian accent in all), but for the majority of the film it is simply Cage and Shue who take up our attention. It's a great credit to both actors that they are able to dominate a near two hour film with such ease.
The Vegas they find themselves in is one of bright colours and seedy motels, perfectly suited to the horrid depths that Ben finds himself in. The score, composed by Figgis himself, is usually loud and very jazz-inspired, managing to fit the vivid images that are painted here. As the film progresses I think it does lose some focus. The set-up is executed to perfection and these characters fit together so well as their struggles increase. Everything about their conversations feels natural and expressive that the film struggles to keep this engaging aspect once the relationship begins to crumble. Ben begins to act even more rash because he is angered by Sera's occupation, but it is like he completely forgot their earlier agreement and that's all the more distasteful by the fact that any retreats that Sera makes are because she cares about him so much.
As the film reaches its conclusion there is both sadness and hope present. One of them will never change, but there's a chance that the other will. In reflection, Leaving Las Vegas is not an easy film to watch because of how deep its willing to go into such an unpleasant area. Never the less, it is an important piece of cinema and one that resonates because it doesn't pull any punches. Cage and Shue are the true heroes. Both provide career best performances that are filled with sensitivity and pathos, as well as a chemistry that makes their actions all the more credible. Sure the films narrative wanes toward the end, but I truly believe that the power shown in these performances and the intelligence shown in consideration to the subject matter makes the film leave an undeniable impression.
For the most part the film is a twisted love story that revolves around self-destruction and the importance of dependency. Ben meets a prostitute named Sera (an Oscar-nominated Elisabeth Shue) who is just as wounded as he is, only she doesn't turn to drink because of it and forces herself to carry on. The two form a relationship that is genuine at its core, despite the fact that neither can change the other which is highlighted when Ben tells Sera that see can never ask him to stop drinking. This inability to change ultimately proves to be their downfall. Their relationship is equally chaotic and bittersweet. Drunken antics and frustration grow more apparent, but there is a clear love between them and in a way it is understandable why two broken people like this would be drawn together.
Given how character driven the film is, Cage and Shue are the very centrepiece of the entire film. Cage has always been able to play characters on the edge, but he has a tendency to delve into the excessive a little too frequently. That never happens here. He is completely believable in every expression and motion. It's a wonderfully measured performance as his drunkenness never goes too silly and contemplations never get too dour.
Shue is his equal in every way. She has always been an actress who has excelled at warmth and sincerity, and that really pays off here. She has such a strong expression of compassion whenever she is with Cage that it's very easy to forget that they are only acting. Julian Sands appears in the first half as Sera's pimp (unconvincing Latvian accent in all), but for the majority of the film it is simply Cage and Shue who take up our attention. It's a great credit to both actors that they are able to dominate a near two hour film with such ease.
The Vegas they find themselves in is one of bright colours and seedy motels, perfectly suited to the horrid depths that Ben finds himself in. The score, composed by Figgis himself, is usually loud and very jazz-inspired, managing to fit the vivid images that are painted here. As the film progresses I think it does lose some focus. The set-up is executed to perfection and these characters fit together so well as their struggles increase. Everything about their conversations feels natural and expressive that the film struggles to keep this engaging aspect once the relationship begins to crumble. Ben begins to act even more rash because he is angered by Sera's occupation, but it is like he completely forgot their earlier agreement and that's all the more distasteful by the fact that any retreats that Sera makes are because she cares about him so much.
As the film reaches its conclusion there is both sadness and hope present. One of them will never change, but there's a chance that the other will. In reflection, Leaving Las Vegas is not an easy film to watch because of how deep its willing to go into such an unpleasant area. Never the less, it is an important piece of cinema and one that resonates because it doesn't pull any punches. Cage and Shue are the true heroes. Both provide career best performances that are filled with sensitivity and pathos, as well as a chemistry that makes their actions all the more credible. Sure the films narrative wanes toward the end, but I truly believe that the power shown in these performances and the intelligence shown in consideration to the subject matter makes the film leave an undeniable impression.