Fear and Loathing in Las Vegas: Criterion Collection
"When the going gets weird, the weird turn pro" - Hunter S. Thompson
What is it about drugs that make things so much better? I suppose it could
be the fact that they mellow our view of the world ever so slightly, or
maybe it's just that they make old people seem far more tolerable. Either
way, I'm often left wondering if it's always the case that any movie is
better seen stoned or fucked up. One such film that falls into this elite
category would be Terry Gilliam's bold and vivd adaptation of a true modern
classic, Fear and Loathing in Las Vegas. Having seen this film dozens of
times in hundreds of altered states I would argue that while it may not
compare to the book with the impact it has had on a generation, it's by far
one of the best cinematic adaptations of a book that comes to mind.
For those of you who aren't familiar with Hunter S. Thompson, what you need
to know is that he is a journalist, and the father of a style of journalism
which instructs the reader word for word, fact for fact of the events on the
fly as they happen. Consider it some sort of penned documentary of events
taking place. Fear and Loathing in Las Vegas is a failed experiment in Gonzo
journalism, which this style has been dubbed, and echo Thompson's distaste
at the time for the oncoming changes in the free love mentality causing a
generation that once soared to come crashing down towards a greedy and
corrupt capitalist machine.
Fear and Loathing in Las Vegas tells the tale of Raoul Duke (Johnny Depp)
accompanied by his associate and attorney Doctor Gonzo (Benicio Del Toro) on
a self-destructive and mind-expanding binge through the heart of the
American Dream. The film features some stellar visual work done by director
Terry Gilliam to emulate Thompson's words on celluloid. Actors Depp, who
shaved his head, and Del Toro, who put on considerable weight, both look and
play the part of Duke and Gonzo with eerie accuracy. Hunter S. Thompson
nodded Johnny Depp's prodigious job of recreating his grass roots liberal
maniac persona in true form.
As my good associate Ryan Keefer said in his review, Fear and Loathing in
Las Vegas should not be passed off as a simple drug film, which it is not.
The film will elude many who try to sit through it the first time - but you've
been given ample warning here - this film isn't for the non-observant. I
remember the first time I tried watching this film and being confused with
what was going on. But perhaps this is where the true genius of Fear and
Loathing comes into play - those who don't understand will shy away and find
themselves missing out on something very special while those who give it a
second chance may, as a result of their patience, introduce themselves to
the not only a great film but subsequently the fantastic book which sang a
final somber song of an era now long dead.
I suppose that I've been gloating a little too much about the book, and not
talking about the film here - but the two really do compliment each other so
very well. Understand first of all that this film is not a word for word
retelling of a series events; rather it's a fantastic director's retelling
of a book based on those series of events. Hunter Thompson has said in
interviews that while he admires the hell out of the film, you can't take
either the film, or the book for that matter, as total truth - literary
purpose allows for the bending of truths, and Fear and Loathing in Las Vegas
uses that etiquette to tell the story. Besides, truth is negligible when
dealing with the perceptions of two men on the drug bender to end all drug
benders rampaging around Las Vegas.
I realize my review screams 'read the bloody book,' but I hope that you will
take the time to have a look at this fucking awesome Criterion worthy
adaptation as well. Gilliam uses some interesting techniques to emulate
parts of the book, including CGI as well as puppetry. I should also throw
down the name Nicola Pecorini - the director of Photography for Fear and
Loathing in Las Vegas who did a wonderful job developing a unique and
colorful look for the film. Much like its paperback compatriot has wowed
generations with its powerful words; Gilliam's adaptation will certainly wow
audiences to come with its smart camerawork, unique visuals and hilarious
off-the-wall performances.
The Disc
It's always so perplexing to me how much a great Criterion disc like Fear
and Loathing can vary from a barebones Criterion disc. First off, I have to
mention that this Criterion transfer is pretty much flawless. Presented in
2.35:1 anamorphic ratio, this disc's transfer was in fact supervised by
Gilliam and probably very easily attained his stamp of approval. From the
most vivid to the very darkest scenes, detail is thrown on the screen with
crystal clarity. Criterion has done a great job with Fear and Loathing,
making this one worth seeing.
On the audio side Criterion remixed new Dolby and DTS 5.1 tracks for this
DVD, and the results are equally pleasing. The atmosphere of the film is
recreated in true form, and the on-screen mania is more audible than ever.
There isn't really much more to say other than I was impressed as much by
the Dolby track as I was with the DTS, and Criterion continues to turn heads
with transfers like these. English Subtitles and Closed Captions are also
included on the disc for the Hearing Impaired.
But perhaps the greatest feat of this set is in fact the bounty of extras
that Criterion has plundered up for us. I need to take a moment and beam a
ray of glee at Criterion for the stellar insert that comes with Fear and
Loathing. The Great Shark Hunt is a collection of Thompson's published works
throughout the sixties and seventies, and the Criterion insert features one
such article written for Rolling Stone on the book Fear and Loathing in Las
Vegas. The booklet also includes a foreward by critic J. Hoberman and a few
more pages of useful info on the film and Thompson. This is really one of
those simple things that companies could throw together; filled with things
related to the film that validated the price I paid for this Criterion disc.
Good show old boys, good show.
Disc one really focuses on the movie, but it also includes three
commentaries. The first track is a lone Gilliam track where he pounces on
every possible topic. This track is very informative, and covers everything
from production hic-cups to the terrors of marketing this beast. The second
commentary is done by producer Laila Nabuki and actors Johnny Depp and
Benicio Del Toro, which is a little more relaxed but also goes into detail
on the processes of getting this film made and some of the antics had while
shooting. Finally there's a commentary by Hunter S. Thompson, which is
probably the best of the three. Anyone who has ever seen Thompson in action
would easily know that he's a bit of a hilarious lunatic, and Thompson goes
on about the film's accuracies, the Death of the American dream and offers
his choice words of wisdom. Efforts are made to keep the commentary on track
by Criterion producers who prod Thompson with questions, but he isn't there
to serve anyone's fancy but his own. Hilarity ensues, and this must be one
of the best commentaries on DVD to date.
Rounding out the disc are deleted scenes which haven't been totally produced
and also feature optional commentary by Gilliam, who explains the reason for
their modification/exclusion. Disc Two is where the real salted meat is
kept, and will force fan boys and cult heroes to find a change of underpants
upon viewing. An exhausting collection of storyboards and production heads a
section dedicated to the movie itself. There is also the classic still
gallery with dozens of snaps from the production itself. There's a video of
Hunter S. Thompson works read by Johnny Depp in an auditorium, as well as a
couple of documentaries and featurettes to boot.
The first documentary is entitled Hunter Goes to Hollywood, a film by Wayne
Ewing who has done work with Thompson in Breakfast With Hunter. The
documentary followed the treacherous path of getting this film from
paperback to celluloid with Hunter S. Thompson. The second documentary is a
very stellar 1979 BBC production called Fear and Loathing on the Road to
Hollywood. This documentary follows Thompson and longtime friend and artist
Ralph Steadman on a trip from Vegas to Hollywood, and also documents some of
Thompson's major accolades of the era, including following the campaign
trail, running for Sheriff of Aspen and earning a cult following with his
off the wall style of writing known as 'Gonzo.'
An audio interview with director Gilliam tells of controversy surrounding
the film's screenplay and proper credit being given to the proper parties
(Gilliam and co-writer Tony Grisoni), despite unjust and silly Hollywood
policies that prevented them from being credited accordingly. There is also
a section of stills: one details Oscar Acosta, the Samoan lawyer friend of
Thompson, and the other showboating Steadman's eccentric artwork. There are
also CD excerpts from the film's soundtrack.
In a section teaching a lesson in marketing, we're told of the bizarre
problems that Universal faced when trying to put this one in theaters. The
section features the theatrical trailer, as well as nine TV spots which
graced audiences during Fear and Loathing's theatrical run.
Summary
There's a huge following for this film - and if you ever have the chance to
examine the materials on which it was based I highly suggest you do so. As
your reviewer, I advise you to drive at top speed to your local retailer and
pick up a copy of this awesome Criterion package. I should also include some
sort of public message, like don't do Acid - but I'm far too tired and
unmotivated to do that, so I'll just end off there.
Originally Featured on DVDork.com
http://www.dvdork.com/publish/cmg_fearandvegas.shtml
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