If there is at least one thing to admire in BAD LIEUTENANT, it's Harvey Keitel's method performance as the corrupt cop without a moral compass who goes through the film indifferent to everyone but himself, getting high whenever he's in the need of a fix, intimidating anyone under his charge--including teen-age girls in the film's most exploitational scene--and upset through the entire film over the rape of a nun who has forgiven her attackers.
Keitel throws himself completely into the role, gnashing his teeth and clenching his jaw effectively whenever stirred to emote, crying like a wounded animal when he feels no justice in a world where injustices are free to roam. He's quite an intense actor and always seems to be cast in these kind of roles that show the underbelly of human beings, usually in stories of the kind that Martin Scorsese likes to tell about corrupt cops. Unfortunately, any director needs a good script.
Well, Abel Ferrara is no Scorsese. He's made a cheap looking exploitation film about a sleazy subject and seems to think that the more gross it is, the more gritty he makes it look, and the shakier the hand held camera is at catching grimy glimpses of New York streets, the better it will be appreciated by fans of this kind of schlock.
Summing up: He's a bad lieutenant in a bad film. Too bad Keitel can't find a film worthier of his talents. All he needs is a good script.
Keitel throws himself completely into the role, gnashing his teeth and clenching his jaw effectively whenever stirred to emote, crying like a wounded animal when he feels no justice in a world where injustices are free to roam. He's quite an intense actor and always seems to be cast in these kind of roles that show the underbelly of human beings, usually in stories of the kind that Martin Scorsese likes to tell about corrupt cops. Unfortunately, any director needs a good script.
Well, Abel Ferrara is no Scorsese. He's made a cheap looking exploitation film about a sleazy subject and seems to think that the more gross it is, the more gritty he makes it look, and the shakier the hand held camera is at catching grimy glimpses of New York streets, the better it will be appreciated by fans of this kind of schlock.
Summing up: He's a bad lieutenant in a bad film. Too bad Keitel can't find a film worthier of his talents. All he needs is a good script.