Sin City

A saxophone cries, and first-person narrative begins, with the story of a perceptive hit-man set in black and white landscape with a bold insinuation of color, a red dress complimented by exact-color lipstick. The cheeky narrative that follows is romantic, dry, dark and wickedly poetic. Four stories intersect: a hit-man's quarry, a cop's last ride, a good-willed scrapper's revenge for his prostitute lover's murder and a mob-war on the streets of Old-Town Sin City begun by an exiled, razor-wielding murderer with a red Cadillac. With a massive cast, academy award-winning and from tony-nominated musicals and three directors with a production design that left my jaw eating carpet.

The photography lives in black and white, with the violent splash of color, light and animation. The audio mix is nostalgic of the old film noir of the 1930's and 1940's smacking of Double Indemnity and Sunset Boulevard. The framing feels exactly as it's meant to, from a comic book. The narrative is pure noir with femme fatales and crooked cops, sensual and brooding. And yet, it's clearly modern with its wire-stunts, seamless prosthetic make-up, green-screen effects and CGI. Each cast member added depth to each story. It is this, most of all that keeps me coming back to this film. All are heavy hitters in today's cinema and I love a good-sized cast. The directors as well are brilliant and two of them are two of my favorites: Rodriguez and Tarantino. Rodriguez is a master storyteller and each of his films I've played in my DVD Player has kept me captive in my seat on the possessed side of my sectional sofa. Where Rodriguez breathes and guest director Tarantino interrupts is clear, but smooth, with his acid trip-style and ADD-fueled emotional ride. It's actually one of my favorite scenes, between Dwight and Rafferty on the way to The Pits. But it is Frank Miller's storyboard guide in the graphic novel that speaks loudest and is interpreted most shockingly by cinematographer Rodriguez.

The photography is why my chin has a rug-burn, the color highlights; interesting where the color is found: in Dwight's shoes, the customer's eyes and lips, Goldie's hair, the mole, Becky's, eyes, every cut and blood spatter. The atypical use of animation, white on black as well as the black and white live-action keeps the memory of this film a clear one. I will continue to crave the excellence this film wears.

***

Entrance Actor: Josh Hartnett

Exit Actor: Jamie King

Coming Soon: The Spirit