Is that the best you can do, you pansies?
I watched Sin City last night, as I am sure a million other geeks did as well. Despite knowing that a “special edition” DVD will be out sometime before Christmas, I simply could not wait to own this nerd-gasm inducing piece of greatness. It was only the second time I’ve seen the movie; I never got around to the second theatrical viewing I had intended. I found my initial reactions reaffirmed: the movie, overall, is fucking spectacular, but each one of the three stories is slightly weaker than the one before it. Interest begins to wane by the time Hartigan is stalking around the Rourke farm to rescue Nancy. The saving grace of the end of the film is that Hartigan’s castration and beating of the Yellow Bastard is sufficiently vicious to bring one back into the balls-to-the-wall vibe that fills every scene of the Marv story and revitalize one’s interest in time for Hartigan’s suicide. On the note of that suicide, upon this viewing I agreed more with Rodriguez’s fairly traditional chronology and division of the stories. By which I mean, the first time I watched the movie I thought that maybe Marv’s death should have been saved to cut back to near the end of the film. But this time, despite the vast superiority of the Marv story overall, Hartigan’s death scene seemed far more resonant and effective than that of the psychopathic protagonist of the first story. Of course, Marv’s is still a whole lot cooler, if only for those famous (among geeks at least) last words.
Obviously, one of the best parts of watching Sin City is the eye-candy. I suspect that this film will end up being as imitated as the Matrix, the difference being that as long as it’s by talented directors this will actually be a good thing. In the context of the film, I think it’s actually the Big Fat Kill that delivers best on the visual side. The Marv story does the action better but Dwight’s story is beautiful to just look at. It never enters the sepia-toned realm of the bar, rather it is black and white and vibrant color the whole way through. Tarantino’s car scene with the scintillating spectrum of color washing through the inside of the car as it passes by streetlights is one of the real high points of the experimental aspect of the movie. I’ve said it before and I’ll say it again — this movie needs to be copied by a Batman movie. Every move Marv makes and the way his trench coats flap behind him should be duplicated by the Dark Knight. The whole look is perfect. And personally, I can’t imagine anything more satisfying than seeing a black-and-white Gotham with it’s occasional flash of eye color, lip-stick, or blood being terrorized by the one-hundred percent color, more vibrant than life Joker. Alas, we probably won’t be seeing this anytime soon. But a geek can dream, a geek can dream . . .