Creasy Bear (spoilers)

Rating: Null/10 (7 October 2005)

I'm not quite sure what went right with Man on Fire. I mean, really, it should be a terrible film. Just take the excess of style (hand-cranked shots, flying subtitles and schizophrenic editing) and the sickeningly cute child. Nine out of ten children in films make me wish that greedy Mexicans would kidnap them  take them away and get them out of my sight. Plus there's a potential for something queasy and unwholesome in the relationship between man and child  I don't really want to watch the Gary Glitter story. But somehow some way the film overcomes all these obstacles and produces something remarkably effective.
I guess the main reason the film works is because the relationship between Creasy and Pita works. Like I said before, in the wrong hands it could come across as something unhealthy. Instead it's rather, well, sweet. And a lot of the credit for this has to go to Denzel Washington. He plays everything quite deadpan and his reactions are understated so you never feel that he's a Jesus Quintana type of character. And although some of the scenes are amusingly trite ("Creasy, you're smiling") they work because Washington underplays them. He gives a rather hackneyed script a hell of a lot of class.
Credit also has to go to Dakota Fanning. Yeah she's predictably precocious but she's not overbearingly cute and she can hold her own in a scene with the likes of Washington. Plus, rather strangely for a child actor, she's quite endearing. Therefore, for once, you can understand the killing rampage that ensues.
And the killing rampage itself is magnificent. Although I'm undecided as to what I like more: the fingers being cut off or the bomb up the bum. I mean, the bomb up the bum has a bomb up the bum, but I like how sadistic the finger torture is (the whole film makes me want to hug my inner-fascist). That being said, though, I do love Washington's performance in the bomb scene ("I wish you had more time"). And the moment with Denzel walking in slow motion with the bomb exploding behind him is the best shot in the film  it's the, er, 'badass' shot.
But the rocket launcher/motorcade scene also deserves respect. In fact, after Death Wish 3 and now Man on Fire I've come to the conclusion that you just can't go wrong with rocket launcher violence (especially when it takes place in an elderly couple's house). And the casual Terminator-like shootings that follow after the explosion are great. Rocket launcher + casual shootings = success.
Another thing that I get a kick out of in Man on Fire is the religious slant (Creasy reads the Bible). This obviously isn't just any normal act of vengeance; this is a righteous act of retribution; Creasy is an avenging angel (he doesn't even care that he's killing himself). Just take one of the best quotes in the film: "Forgiveness is between them and god. It's up to me to arrange the meeting." Very Biblical. Then there's the bullet that doesn't go off when he tries to commit suicide. The film might as well just come out and say it: god saved him. But making it even funnier is the way that he later gives the same bullet to Pita's father. He practically forces the bloke to try and kill himself and then says, "I'll pray for you." Of course this time the bullet goes off. I guess it must have been god's will.
And also helping with the whole quasi-religious subtext is the fact that the film is played like an opera  you've got Pavarotti playing when he kills the cop and when he pushes the car off the cliff. Everything in the film is heightened, everything button and dial is switched up to maximum. There's no room for subtlety here.
But the fact that the film isn't subtle doesn't matter one bit. In fact, if anything, it makes it more enjoyable. I mean, sure, the fractured editing is a little wearing and the visual pyrotechnics bludgeon you somewhat, but I love all the clichés in the film. My favourite is the drink problem. There's nothing quite as much fun as a down and out, lonely man who loves the sauce  and although I perhaps didn't appreciate them in the way they were intended, I loved all the moody shots of Creasy drinking; you just know that only a vengeful killing rampage can get him on the wagon. And I also like the way that a beard (well, and an affinity for booze) is the only thing you need to show that Creasy (at the beginning) is troubled. In the movies a scruffy man equals a tortured man.
And do I need to point out the genius of this line: "Creasy's art is death. He's about to paint his masterpiece." Just brilliant. And the fact that the delivery is completely serious cracks me up even more. (The whole film is ludicrous but for some reason I'm with it all the way.)
I also like all the "Creasy bear" stuff. One I find it funny and two I actually find it weirdly touching: how could you not be inspired to kill lots of people after reading "I love you Creasy Bear" over and over again? Hell, I hate children, but reading that would even make me bloodthirsty.
And yet another thing I like about the film is the unashamedly emotional ending. It's a right wing, fascist, Biblical, action weepy. It's perfect for people who like to see lots gratuitous violence but who are sentimental saps too. In other words, people like me. I love you too, Creasy Bear. Er, I mean, yeah, good work Denzel.