Sometimes, often films are windows. They hold up their glass lenses, capture the view(s) on celluloid or digital hard drives, and re-present that world up on a big screen for you. Your eyes watch the landscapes and the people or things put in front of it, and you get to see a filtered view of the world around you. But a window is something you look out of, and I don’t think you look out of Brick (2005, Dir. Rian Johnson) no, I think you look into Brick, you walk into and immerse yourself into Brick. In that case window is a bad choice of word.
A better one might be portal.
It’s difficult to put into words why Brick works so well, which is my favourite kind of feeling. It’s difficult, because to really understand it you have to see it and listen to it, film being an audiovisual medium not a written one. Try and write out Brick and you have a beautifully elaborate and winding detective story but with only a pale imitation of its deliriously crisp and sharp visuals. The Californian sun burns brightly over this world, hanging in a clear blue sky which overwhelms my eyes. Maybe Rian Johnson would’ve written something along those lines, but you get to see it instead.
So let’s use these words then, especially since the characters in Brick are so intent on using them. In fact, following along the purest noir fashions, the words flow like a torrent over everything. The words race through the air and through your mind, characters building and tearing down and outwitting each other within a few breaths. It was a bit of a revelation for me to be confronted with a script so dense, even most neo-noirs fail to capture that style of dialogue, much preferring to just regurgitate the 40/50s aesthetic style of the film noir. But that’s my starting point, a script which moves like a locomotion building steam, it’s furnaces getting hotter and hotter under that burning sun.
Unfortunately this is not a book, and a script only goes so far. So the camera picks itself up (with a little help from cinematographer Steve Yedlin I’m sure) and shovels coal into the train’s furnace, with reckless stylistic abandon. In fact all its stylistic elements, its dynamic and absorbing visual composition and it’s eclectic and wild sound design, are engrossing in a way I haven’t experienced in a long long time. The style of this debut is sheer visionary work, the deft handling of so many different elements of film was just a delight in my eyes, no doubt about it. It’s world is so cohesive that after recovering from the jarring shock of the film noir world transplanted onto a high school is gotten over, it descends into a daylight nightmare which captured me, spun me around and dropped me off at the end to some Velvet Underground. It’s a ride I would’ve paid good money to see, and to see again.
But why am I bringing this up now? I’m sure many other film lovers have put forward their views on what makes Brick exceptional, and many more on what makes Brick garbage to them. It’s a film with a bold and out there style, which is always confrontational for critics. But I think for me, it’s a film I really needed to see at this moment in my life. It has been sitting in an unwatched pile for many years of my life, and I can say it has managed to restore some of my faith in cinema. Almost like a state of the nation address, but to me and my obsessive film brain.
See a director or anyone making a film can never truly understand what impact the film will make on its audience, especially as time passes. All the production team can do is build the best film they can and hope it stands up to the winds of time and opinion pieces. But for me, who seems to be quite frustrated with the sometimes anemic and safe mainstream cinema environment, the film is a beacon of light for me. For a film site which was made to talk about films with some depth, especially films which weren’t just the modern slew of rehashes, reboots and relentless adaptations. And Brick is that for me. Brick holds many of the ideas I wanted to grow and explore in my time doing this. It’s vibrant, it’s bold and unafraid to commit to an aesthetic which many would like to declare dated or worse, dead.
Brick is not just a portal into the world of Brendan, underground heroin rings and fast talking smart mouthed criminals. Brick is a portal into the past, it lives in the history of film noir and couldn’t exist without it. And it also a portal into the best kind of future, one where filmmakers take the disparate elements of the world which interest them and mould them into films which breathe life into the real world, filling it with stories that entrance its audience members in a way beyond pure action spectacle.
In short, they make films which are good and cool. It’s a lot to ask apparently, so we all better get started.
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