Director: Frank Miller, Robert Rodriguez, Quentin Tarantino
Cast: Bruce Willis, Mickey Rourke, Clive Owen, Benicio Del Toro, Jessica Alba, Brittany Murphy, Elijah Wood
Screenplay: Frank Miller
124 mins. Rated R for sustained strong stylized violence, nudity, and sexual content including dialogue.
It’s pretty insane that no one decided to completely adapt a graphic novel until 2005, when co-directors Frank Miller and Robert Rodriguez released Sin City, an adaptation of the series of the same name.
Sin City tells three main stories. In “The Hard Goodbye”, we meet Marv (Mickey Rourke, The Wrestler, Immortals), a beast of a man who has just enjoyed the best night of his life due to a beautiful blonde named Goldie. When he wakes up, she’s not breathing and he’s out for vengeance. In “The Big Fat Kill”, Dwight (Clive Owen, TV’s The Knick, Children of Men) is out to stop the dangerous drunk Jackie Boy (Benicio Del Toro, Snatch, Inherent Vice) and his friends who are on a bender in old town, where the women are in charge and the cops stay out of the way. In “That Yellow Bastard”, police officer John Hartigan (Bruce Willis, The Sixth Sense, Vice) has been paying for a crime he didn’t commit for far too long, but he has just one last mission: to protect Nancy Callahan (Jessica Alba, Fantastic Four, Stretch) from the vicious hands of a murdering, raping psychopath.
The look of this film is one-of-a-kind (or was, it has since been reproduced in several other stylized films), filmed practically frame-for-frame from the source material. For a film mostly on green screen, the film just oozes noir. Rodriguez took some extreme risks to get the film he wanted, including creating a scene on his dime to prove that it could be done. He even brought Frank Miller in as a co-director along with colleague and frequent collaborator Quentin Tarantino as a special guest director (he helped with the score to Kill Bill in exchange).
The performances are exactly where they need to be. They are gritty and goofy with a slight hint of madness, exactly what this film needed. The whole movie just works when it really shouldn’t, and it is that accidental (or genius) combination that makes this movie just perfect.
Sin City is a film that is exactly what it needs to be, and it has survived and only looked better in the ten years since its release. The performances and visual beauty of the film could not have existed so flawlessly under a lesser director, but Robert Rodriguez had a vision, one that he shared with original creator Frank Miller, and it shines through here.
-Kyle A. Goethe