Published via Ecency

(source: tmdb.org)

In 1990s it became fashionable for critics and more snobbish segments of the audience to praise American independent cinema. Many film makers were celebrated for being “mavericks” and not allowing commercial considerations to compromise their true artistic visions. On the other hand, some film makers were also disliked for that very reason, because their brand or artistic vision was deeply troubling and unpleasant. One of them was Abel Ferrara, whose 1993 drama Dangerous Game (also distributed under title Snake Eyes) was disliked by critics partly because it was the most autobiographical.

The main character, played by Harvey Keitel, is Eddy Israel, New York-based director of art films who is coming to Los Angeles to direct Mother of Mirrors, ambitious drama about once wealthy man who is revolted by his once free-spirited wife becoming religious and refusing to find comfort in alcohol, drugs and sex. Character of the husband is played by Eddie’s friend Francis “Frank” Burns (played by James Russo), while the wife is played by Sarah Jennings (played by Madonna), ambitious actress who would do anything to advance her career, including using the casting couch. Eddy tries very hard to extract best possible performances from his two actors, unaware that the characters’ dysfunctionality and violence would begin to spill over into real life and that Eddie’s own marriage to Madlyn (played by Nancy Ferrara) would be affected by the increasingly macabre ordeal on the set.

Dangerous Game, like most of Ferrara’s films, wasn’t intended for broad audience. Critics, usually more understanding for his themes and style, weren’t particularly enthusiastic of this film. Much of the criticism was directed towards autobiographical character of film, with Eddy Israel being interpreted as director’s alter ego and the plot about his clash with Hollywood actors seen as settling some personal scores. Some of the complaints were addressed at certain technical issues in the film and they are more valid. Ferrara experimented with various styles that made the plot at times look confusing and he had problems with pacing. The ending of the film is also strangely anti-cathartic for this sort of film. On the other hand, Ferrara never fails those who appreciate his kitchen sink realist approach to the darkest corner of the human psyche and the way they manifest in the real world. Drama is raw and strong, and it is so also thanks to very good cast. Harvey Keitel, who made one of his greatest roles in Ferrara’s previous film Bad Lieutenant, is also very good in this film, although his character is somewhat less impressive. James Russo, an actor specialised for the roles of menacing yet vulnerable character, also delivers strong performance. But the biggest surprise is Madonna, who was by that time known as bad actress. In Dangerous Game she handles complex dual role with great ease. Ironically, those who don’t like Madonna are most likely to appreciate this film, mostly thanks to the scene in which Eddy directs her character and insults her for being product of commercialism instead of true artist. Although Dangerous Game is, like many of Ferrara’s work, an acquired taste, it could be recommended to audiences who like good acting and powerful dramas.

RATING: 6/10 (++)