From square one, Constantine has that sort of comic book feel to it. Based on the graphic novel Hellblazer by Kevin Brodbin, Mark Bomback, and Frank Capello, the shot composition and the framing give it that kind of immediacy and salience that connects forcefully. And it brings other films to mind as well: the neo-noir of Blade Runner, the exponential special effects of Indiana Jones by way of Angelheart, a fusion of voodoo, Roman Catholicism, and detective films like The Maltese Falcon and The Big Sleep with an emotionless hero who isn’t bad enough to be wicked and isn’t good enough to be noble.
In a way, John Constantine is the fulfillment of a long succession of disaffected screen detectives. Keanu Reeves' lack of emotional range and personal investment is perfect for this role; he can pass it off as apathy or smoldering rage. Don’t get me wrong. Constantine is a great ride, the undercurrent of despair mitigated by shimmering, seething special effects and the twisted withering comedic turns as our hero banters with angels, demons, and their half-mortal counterparts who wander, as he does.
Constantine deals in a lot of theological and occult mumbo-jumbo. I am not saying that theology and the occult are mumbo-jumbo, but in this movie, that’s the idea. It all comes at you so thick and fast that trying to make sense of it would only detract from the visceral pleasure of just enjoying it as a busy, dizzy, cinematic roller coaster, steeped in gothic, icky-dreamy iconography. Just when you think you should be taking it seriously another bit of goofiness comes along, and you can exhale.
Constantine jerks you back and forth between stunning, breathtaking imagery and bleak milieus, where the characters exchange wry remarks to keep them from submerging in despair. One of the great things about this film is how it deals in colossal issues with such utter lack of gravity. It’s just all in a day’s work for John Constantine. His co-star, Rachel Weisz, in the dual role of detective Angela Dodson and her twin sister Isabel, is as achingly gorgeous as ever, and has just the right touch of grimness and vulnerability.
Director Francis Lawrence is clever in many ways, undercutting the warring factions of Heaven and Hell while continuing to do them justice. Detective John Constantine is more or less caught in the crossfire. Consider an encounter between him and the Angel Gabriel at a liturgical library. After discussing Constantine’s plight, in appropriately solemn and sanctimonious tones, Gabriel sums it all up by telling him, “You’re fucked!”. It’s surprising and funny and I believe this was Lawrence’s intent. Gabriel is played by Tilda Swinton, wearing a man’s suit, with her customary éclat and stylish androgyny.
Article comments
1 - Triniman
I just wasn't into this movie at all. I found it too silly and didn't watch it all the way through. Some people will love it but it wasn't my cup of tea.
2 - Christopher Soden
I hear you talking, Triniman. I think Constantine is one of those "Hail Mary" films that either works for one in a big way or crashes and burns. I went to the screening with my mother and she positively loathed it. For some reason it connected with me, though I confess it took a little while for me to get my bearings.
Cheers,
Christopher
3 - kaz
yeah,i took a friend..i loved it..they hated it..go figure :)
4 - Rebecca Fransway
Constantine is a great movie, isn’t it? I love the cut scenes as well; there's a special DVD offering them. In my opinion, Keanu Reeves has a *wide* emotional range as an actor and brings a powerful charisma to every movie he makes. The examples are too lengthy to give here, but he should have won an academy award for Constantine. As you mentioned, the supporting actors are terrific as well, especially Pruitt Taylor Vince as Father Hennessy--but it is the abilities of Keanu and his total becoming of the dark, angry, desperate Constantine who successfully brings the best out of the supporting actors.
Best,
Rebecca