Since for the movie-of-the-month column in October I discussed The Crow – and how its style eventually influenced other similar graphic novel adaptations – I thought it would be opportune this time to discuss one such case. Without further ado, let me introduce a noir or neo-noir piece that had quite a unique style: Sin City from 2005 [note that I will be discussing only the first movie as I found the sequel a little bit subpar]. The original graphic novel, written by Frank Miller, was published between 1991 and 1992; the author had already made a name for himself through his works and style (consider for instance The Dark Knight Returns and Batman Year One). Eventually, almost 15 years later, Sin City was adapted and directed by Robert Rodriguez (who admittedly was perfect for the script considering his pulp-oriented style – think of El Mariachi trilogy and the later Machete). Sin City is ultimately an ‘all-star movie’, with some great names such as Bruce Willis, Mickey Rourke, Jessica Alba, Rosario Dawson, Clive Owen, Elijah Wood and several others – and their talent, combined with a good script, shows.
Miller’s writing is reminiscent of an older style of noir movies and books, the classic private investigator (the roles of Humphrey Bogart for instance) that becomes an anti-hero and saves the day fighting both the corrupt or inept police force as well as the mobsters and gangsters he encounters. I can only describe the movie’s artistic style as aesthetically pleasing and evocative – a tribute to comic books – being in black and white with just the splash of colour here and there for a visual effect. It is not however the black and white that one might recall from the older pictures; it is rather a technique that uses contrast by adding an excessive whiteness or darkness to the scenes. The movie is divided into chapters, each focusing on different protagonists with some recurring places or intertwining characters.
I will not discuss the different narratological plot points and how the stories evolve and link; I would rather just take a moment to concentrate on the very first chapter. Consider this a tribute to Bruce Willis given that it is his voice that introduces the City of Sin. The roughness of his tone reflects the grim world of the setting, the very same one filled with corruption and violence previously mentioned. It is the story of a good cop, old and close to retirement (a personal narration similar to that of The Dark Knight Returns for those who might have read it) and who, on his last case, is framed by the wealthy Sin City’s hierarchy. He does not object to the allocations moved against him because that would lead to the girl he managed to save being killed. Eventually, when he will be released from prison, he will do everything in his power to keep protecting that same girl and understanding that the only way to do so is by removing himself from the picture. Although it is a ‘splattery’ and gory first chapter, there is something more to it – the unwavering morals of an old timer who wold do anything to protect a young and untainted generation from a depraved word, corrupted to its core, is uplifting. It is not a question of martyrdom or self-sacrifice, but rather of doing what has to be done, doing what is right, and that is never easy: I would describe the ending of this first chapter as poetically bitter yet heart-warmingly sweet.
I would give this movie a 7 out of 10 ‘Sodoms and Gomorrahs’.