Who doesn’t love some Nic Cage in their life?
That might be an unfair overgeneralization…but I certainly do. His brand of over-the-top and BIG acting might not be for everyone, but I love to watch the insanity unfold on screen. There is NO one like Cage. He is on a whole other plane of acting existence from all his peers. There are few actors who can channel unhinged energy quite like him. When you need a character to lose it, Cage is your guy. When you need to spice up a film or character with bold choices, no one can compare to Cage. Forget naturalistic acting when you can have something so much more entertaining. Obviously, you do not need or want that kind of energy in every role or film but when it calls for it, Cage will deliver. Face/Off…The Vampire’s Kiss, The Wicker Man…there are whole compilation videos on YouTube just for his unique brand of theatricality.
But what makes Martin Scorsese’s Bringing Out the Dead a film in need of Cage?
You do not have to look any further than the lead character, Frank. Like a loner like Travis Bickle, Frank is an EMT that works all night on the dirty and chaotic streets of New York City. He sees death, suffering, and pain in so many ways. Channeling some Catch-22 logic, Frank is always trying to quit or get fired. He just cannot take this life anymore. Can you blame him? Throughout the film, Frank spirals as each new call that comes in, he loses more and more control. Queue Nic Cage. The mania that Cage injects into the performance is incredible. His wide eyes, high-raised brows, and devilish open grin…they all scream “this man is not OKAY!” His insane laugh is just the cherry on top of so many scenes. When Frank turns to drugs to deal with his haunting past, Cage unleashes in a powerful and shocking way. Frank sees a young patient from his past appear and Cage cannot help but glare and look disturbed. There is plenty of emotion in the performance which helps the audience empathize (even if he is so crazed at times).
But what is the struggle that Frank’s journey’s on in the film?
As mentioned above, Frank is haunted by a patient he could not save. He struggles throughout the film to stay in the moment. Instead, he has nightmarish visions of the people around him appearing as her. Even when the film ends with a final conversation with his potential love interest, who does he see? This patient. He cannot move on in his life until this regret is resolved. This is so poignant and tangible in every scene. That is his real journey. He feels a disconnect from his job because of it as he doesn’t trust himself anymore to save others. Frank’s reckless behavior is quite entertaining but also equally tragic. How can he self-sabotage so much? Every conversation with his boss is hilarious but there is the lingering frustration under the surface.
But this is not Frank’s only struggle, is it?
One of the larger narrative pieces in the film is the connection he makes with one family. He saves the father…but just enough that he is alive but not thriving. He develops feelings for the daughter (Patricia Arquette) which becomes a large focal point throughout the film. This responsibility he feels for this man is strong and unrelenting. This terrible situation challenges his perspective on what help is. Should he stand by and allow this man to suffer through 15 zaps per day to just bring his heart back? What kind of life will he lead? Frank’s increasing hallucinations begin to embody this man calling for his help. Then there is his daughter who Frank feels attracted to. He falls with her as she turns to drugs to cope. Not the most toxic of relationships in a Paul Schrader/Scorsese collaboration but there is still trauma and red flags to process. Should he be hitting on this suffering woman whose father is in his hands? The complexities of Frank’s mental state make this more compelling.
But what about the perspective Bringing Out the Dead provides on the healthcare system in NYC?
This emergency room that makes up a large part of the setting, becomes almost like its own character. The security guard at the main doors is a powerful force and has plenty of energy (as he threatens the waiting folks with taking off his glasses). Afemo Omilami is a great addition to the cast with this small and belligerent character. Then you have the nurse who is checking them in. Mary Beth Hurt is fantastic as this cold and sarcastic presence laying down serious judgment on the patients who come in. Nestor Serrano is a distant and burnt-out doctor who embodies the lax and overburdened hospital. This chaotic and blasé atmosphere in the emergency room channels this biting commentary on our health care system that is underfunded, filled with red-tape, and devoid of compassion.
What about the world inside of the ambulance?
Frank’s rotating partners and usual suspects speak volumes about the world that he inhabits. We start with John Goodman’s Larry. Goodman is a class A character actor and shows that well with this frustrated and complaining man in Larry. He is always hungry and finds little things to have issues with (including the need to climb stairs to do his job). His “sick” day even sends Frank off to other partners. Goodman does such a great job being an everyman and we can all feel that frustration that he feels on such a stressful job. Things get progressively more problematic with each partner. Queue Ving Rhames as Marcus. Rhames’ character is one of the key elements of religious commentary in the film. In what might be the best scene in the film, he distracts a bunch of clubbers with a religious ceremony to save their friend (while Frank does). The humor that Marcus challenges are absolutely needed. But he has his flaws as he continuously sexually harasses one of the members of the dispatch. But then there is Tom Sizemore’s Tom. He is a straight sociopath who tortures and harasses patients (especially Marc Anthony’s Noel who represents the unfortunate revolving door of the healthcare system). Tom pushes Frank to be the worst version of himself which is tough as he is already on the brink of a meltdown. Each part is a symbol of coping with this rough job.
But why is this film not among the most talked about in Scorsese’s filmography?
This is a hard film to process. Sure, you have Taxi Driver and Raging Bull (Schrader channels elements of both, especially Taxi Driver in this film) but so many people love the cool gangster flicks like Goodfellas, Casino, and The Departed. This film is a journey through the middle…through purgatory. Whether it is the old man stuck between life and death, Frank stuck in job limbo, or a variety of other elements in suspended animation, the film challenges the audience to process this tough grey area. Humans hate the grey. We would much prefer black or white. This is also a dark and tragic film. The horrible sides of New York and our healthcare system are not something easy to watch. Bringing Out the Dead was a box office bomb and middling reviews followed. But there is something special about this film.
What could that be?
This is high octane and deeply disturbing cinematic experience that soars the way it does because of Scorsese, Cage, Schrader, and the rest of this artistic team.
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Cage is a force to be reckoned with in this role. The tired nature and unhinged fracturing highlight his best acting talents. There is plenty of depth and nuance to the commentary that the film takes on. Scorsese also delivers a visceral and high-tension thrill ride. Whether it is the fast-paced montages, hyper-speed takes, or the daring camera movements bring a certain level of energy to the proceedings. That is what Scorsese excels with so much. He can capture an attitude and energy that is unmatched in filmmaking. Also…who else would you want to capture New York City than Scorsese? No one, that’s who.
