“…at least in prison and at least in death, you know, I wouldn’t be in fuckin’ Bruges. But then, like a flash, it came to me. And I realized, fuck man, maybe that’s what hell is: the entire rest of eternity spent in fuckin’ Bruges.”
The Belgian city of Bruges is a beautiful Gothic time capsule of old, and wandering its streets and alcoves no doubt must bring quite a sense of awe and history to tourists. Is this the right word, alcoves? But after a day or two of touring the city’s historic museums and churches, is there really anything left … In Bruges?
History
Martin McDonagh was already well established as a playwright on the West End when he took a fateful weekend trip from London to Bruges sometime before 2008. Despite becoming an instant phenom as a playwright at age 23, McDonagh says his first great love had always been film. It just so happens that that trip to Bruges sprung an idea in him that he felt could only be realized on film. McDonagh told IndieWire that the trip had been a conflict for him: he was struck by the gothic beauty of the city and yet, by the second day after having toured every museum and church, he found himself bored and wanting to simply drink and do something else. The tension between the two sides of himself became two hitmen, Ken and Ray, stuck in Bruges together with two very different opinions of the city while they await orders from their boss, Harry.
Importance
The idea eventually became McDonagh’s debut feature film, casting Colin Farrell as the fidgety Ray who wants to be anywhere in the world but Bruges, and Brendan Gleeson as Ken, the older and wiser mentor who appreciates the history and quiet beauty of the city. The trifecta of Farrell, Gleeson and McDonagh proved to be a beautiful chemistry, as the two Irish actors elevated the ridiculous banter between two partners that only McDonagh could write. The film is further elevated by a villain turn from Ralph Fiennes as Harry, who has several quotable tirades that Fiennes chews up completely. The film established McDonagh as a real talent that could cut it at the movies just as much as on the stage, gracefully bringing his unique blend of darkness, melancholy and biting humor to the big screen.
Legacy
The date of publication of this Canon entry marks the unofficial opening day of Wild Horse Nine, the latest from McDonagh, which has already premiered to rave reviews at Venice and the Toronto International Film Festival and is poised to be McDonagh’s third of five feature films to be nominated for Best Picture. There’s a strong likelihood, too, that the film will win best original screenplay on its own merits, but also to honor the body of work that began right here in Bruges. The plot of the latest movie—two hitmen awaiting orders while on Easter Island—feels like a spiritual successor to the film that launched McDonagh’s film career. The dynamic duo of Gleeson and Farrell would also prove to be a success once again for McDonagh as they reunited for The Banshees of Inisherin, which has perhaps gone on to become McDonagh’s most popular film.
It’s a rare feat for a director to command your attention with just a handful of movies, but McDonagh proved himself right from the very start to be one of the best screenplay writers in the game, and has only continued to provide some of the greatest dialogue in modern cinema. Never one to get too caught up in the plot, In Bruges shines as the seminal example of McDonagh’s ability to deeply explore his characters by letting them get lost in narrative alcoves that amplify their humanity.
Are you sure this is the right word, alcoves?
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