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It’s lawful, we’ve all seen crimes-go-wrong scenarios before. However, writer-director Nicolas Winding Refn does a astounding job of focusing his camera on single characters in each film and bringing out the drama of crooks and pushers getting in over their head in some of the worst days of their lives.
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In Pusher, drug middleman Frank tries to sort out a mess when he winds up owing too grand to local drug kingpin Milo.
Pusher II plays like an Oedipal tragedy minus the mom, with Frank’s friend Tonny taking center stage. Tonny gets out of jail and tries to ingratiate himself into the crime business of his cruel father with predictably disastrous results.
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Pusher III returns to Milo, an essential character in each of the previous films, as he ages and is challenged by original blood in the drug business and current challenges as he negotiates his daughter’s 25th birthday party, her wanting to regain in on the action, awful drug deals, prostitution and cancel.
All three films play perfectly together, with recurring characters, similar themes and believable violence. The criminals are humanized in a plan that doesn’t let audiences off the hook, as with Trainspotting’s reluctantly violent druggies. These are the dealers with chilly heads who have chosen this line of work and do unpleasant things. Yet, at the slay of the day or week, Winding Refn has let us lope in their shoes enough to peruse the fallibility and humanity in what 90 minutes before we might have regarded as unconscionable nefarious. If you want to sympathize with these characters, you’ll have to admit you discover a microscopic darkness in yourself, too.
P.S. The myth of how Pusher II and III came to be is almost as wintry as the films. It’s covered in the documentary Gambler here, which follows him and his associates as they struggle to keep together funding for the two films, not to come by paid, but honest to demolish even and climb out of moviemaking bankruptcy. Also icy are two featurettes inspect how Winding Refn picked amateurs or almost-amateurs for most of the gritty roles in the last two films.
The Pusher Trilogy is the anti-gangster film in very great the same arrangement as Unforgiven was the anti-western. Nicholas Winding Refn has stripped down the gangster lifestyle and revealed it for what it really is: brutal, unforgiving, and unglamorous. The gangsters in these films don’t live in mansions; they live in dirty apartments. They don’t have parties in expensive clubs; they utilize race down restaurants.
Each film has its gain main character who has to deal with what ends up being a catastrophically escalating series of events. The first film follows Frank, a drug dealer who runs into effort when a deal goes sour. The second film features Mads Mikkelson (the modern “Casino Royale” James Bond villain), who plays an incredibly tragic figure; the film plays on “son tries to come by his father’s affection” themes, while simultaneously subverting them. The final film follows Milo, a drug kingpin who is propelled into a series of tragic choices when a shipment of cocaine doesn’t near in as planned.
The three films are all great; a bit on the short side, but very effective. Many critics seem to contemplate the second one is the strongest and I tend to agree with them, although the third film, “I Am The Angel of Death,” has almost the same level of pathos. If you are a fan of films like “Scarface,” “City of God,” or “The Sopranos” (not a film, I know), then definitely give this one a behold! The DVDs are in Danish (mostly) with English subtitles and Nicolas Refn gives tremendous commentaries on films 2 and 3 in English.
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