Johnny Handsome is a bank robber with facial deformities. When his friend is killed and he is double-crossed by some accomplices on a job he ends up in prison, but his case is taken up by a pioneering surgeon researching the link between physical disabilities and criminal recidivism. If he can give Johnny a new face, can Johnny turn his life around ?
I have a very soft spot for this movie, although I must admit its story line is unremittingly bleak and its world view is harshly cynical. If you're looking for a cheery date movie, its cocktail of violence, suffering and nihilism is perhaps not for you. But, if you're prepared to go with it, it's a great story full of rich characters, terrific performances and a highly original theme - to what extent are criminal tendencies part of our personalities, and is it futile to try to overcome them ? I'm especially drawn to the Drones character (brilliantly played by Freeman), for whom life contains no surprises and people behave in an entirely predictable way. In one sense he's loathsome, constantly hounding and belittling anyone's attempt to better themselves, but in another he's a world-weary but compassionate realist whose eloquent final epitaph for Johnny is as touching and heartfelt as any ever written. All of the characters are imbued with passion, be it Donna's dignity, Sunny's scheming, Dr Fisher's philanthropy or Rafe's constantly simmering fury, and the entire ensemble are all fearless and terrific, right down to the minor players. The sultry New Orleans setting and drunken blues guitar score by Ry Cooder combine to create a potboiler atmosphere of decadence and tension, of lives lived at a flashpoint and corruption lurking around every darkened street corner. It also utilises a very interesting camera style, whereby the actors are often talking and looking direct to camera for long beats; monologues rather than over-the-shoulder dialogue. This stuff is literally in-your-face and intensifies all the big speeches - director of photography Matthew F. Leonetti also counterpoints it with silent reaction shots, so that the movie is deliciously slow and dreamy as it winds towards its sad but satisfying conclusion. All of these elements are beautifully woven together by Hill into a brilliant - if minor - crime picture which is both thought-provoking and deeply affecting. Extremely well written by Ken Friedman, based on the book The Three Worlds Of Johnny Handsome by John Godey (who also wrote The Taking Of Pelham One Two Three). If you are ever prone to thinking Morgan Freeman is overrated, or in too many movies, give yourself a stern talking to and then watch this film. All of the cast are very good, but he is mesmerisingly brilliant - every nuance, every look, every pause, every gesture counts towards the drama and contradiction of his complicated character and to the rich enjoyment of the movie. He's a truly great actor. 7/10
I have a very soft spot for this movie, although I must admit its story line is unremittingly bleak and its world view is harshly cynical. If you're looking for a cheery date movie, its cocktail of violence, suffering and nihilism is perhaps not for you. But, if you're prepared to go with it, it's a great story full of rich characters, terrific performances and a highly original theme - to what extent are criminal tendencies part of our personalities, and is it futile to try to overcome them ? I'm especially drawn to the Drones character (brilliantly played by Freeman), for whom life contains no surprises and people behave in an entirely predictable way. In one sense he's loathsome, constantly hounding and belittling anyone's attempt to better themselves, but in another he's a world-weary but compassionate realist whose eloquent final epitaph for Johnny is as touching and heartfelt as any ever written. All of the characters are imbued with passion, be it Donna's dignity, Sunny's scheming, Dr Fisher's philanthropy or Rafe's constantly simmering fury, and the entire ensemble are all fearless and terrific, right down to the minor players. The sultry New Orleans setting and drunken blues guitar score by Ry Cooder combine to create a potboiler atmosphere of decadence and tension, of lives lived at a flashpoint and corruption lurking around every darkened street corner. It also utilises a very interesting camera style, whereby the actors are often talking and looking direct to camera for long beats; monologues rather than over-the-shoulder dialogue. This stuff is literally in-your-face and intensifies all the big speeches - director of photography Matthew F. Leonetti also counterpoints it with silent reaction shots, so that the movie is deliciously slow and dreamy as it winds towards its sad but satisfying conclusion. All of these elements are beautifully woven together by Hill into a brilliant - if minor - crime picture which is both thought-provoking and deeply affecting. Extremely well written by Ken Friedman, based on the book The Three Worlds Of Johnny Handsome by John Godey (who also wrote The Taking Of Pelham One Two Three). If you are ever prone to thinking Morgan Freeman is overrated, or in too many movies, give yourself a stern talking to and then watch this film. All of the cast are very good, but he is mesmerisingly brilliant - every nuance, every look, every pause, every gesture counts towards the drama and contradiction of his complicated character and to the rich enjoyment of the movie. He's a truly great actor. 7/10