Bringing Out the Dead (1999) Reviews

• Surreal, strange, special and very, very good

  MrVibrating2006-02-12

  This surreal portrayal of a stressed-out depressed, alcoholic and generally weird paramedic is a movie you cannot watch just like that. I recommend watching it late at night, but not too tired, since you have to be quite alert to catch everything that's going on. The basic plot is about an ambulance driver(Nicolas Cage can act!) who hasn't saved anyone for months and begins to doubt he can save anyone anymore. He drinks booze and coffee and the result is a great mess. This is not a "beginning to the end" kind of movie. When the movie ends, nothing is really solved. The acting is pretty much flawless. Nicolas Cage does his best performance to date, and his paramedic buddies and the people he encounters are all very well portrayed. John Goodman is a fat, sweaty but somewhat likable paramedic, Tom Sizemore(!) is a psychotic ambulance driver who has his very own view of the job, Ving Rhames is a delivered Christian who takes the job as an opportunity to save souls, Mark Anthony is an interesting street weirdo, and Patricia Arquette is a weary woman who loses her father. The imagery is very good too. New York whizzes past, full of lights and darkness. It's gritty, it's moody and it's surreal. If you can stand a little unorthodox cinema then you'll like Bringing Out the Dead. But be sure to be in the mood, or the experience will be very different. Oh, and I salute all the paramedics and other health care heroes out there. If your job is anywhere near this movies, you're the greatest.

• A brilliant film

  JRoberts1999-11-13

  Bringing out the Dead, unfortunately, has fewer fans than it deserves. Why? Because this isn't simply a "New York" movie, or a movie about a paramedic, or about euthenasia, despite the ostensible setting and plot points. Instead, Scorsese has created a cinematic myth about how haunted modern existence can be, and what it takes to be "saved" and find grace in a seemingly godless world. His vision of New York is all literate existential comedy, not a window into the rotten Big Apple. Mere satiric commentary on the tragedy of life in New York is for journeyman directors; Scorsese is doing something else entirely here. In other words, this is that really rare beast--a literate film that is, first and foremost, still a great movie. In the plot and its implications, there's more here of Flannery O Conner or Virginia Woolf than there is here of, say, Tom Wolf. More pariticularly, Bringing out the Dead does with masterful filmmaking what Joyce's The Dead did in prose. This film is a truly eye-opening investigation into how the living exist in the shadow of the dead and dying. The film accomplishes this incredibly difficult task on many levels--the cinematography alone should give you a clue that this is definitely not Taxi Driver or Goodfellas--there's something more sublime here (the beauty that American Beauty explains wonderfully is shown everywhere in this film, but Bringing out the Dead is less mundane, simple and "character" oriented). Every shot is right, and the numerous computer effects here--on display almost for their own sake in The Matrix--are here poetically put together by a master director. So, just for it's approach to a subject that few movies or directors would even attempt, this film will be a classic. Oddly enough, one of the few movies it can be compared with is Hitchcock's Vertigo, which confronts the same issues in a different way. Scotty's (Jimmy Stewart) desire to "raise" the dead is as strong as Frank's, and audiences didn't much like Vertigo when it was released either. The acting, the music, the incredible photography--they're all great, if you realize you are watching a literate, funny, well-plotted (as opposed to simply plotted) meditation on the ghosts that increasingly inhabit our technocratic dwellings. Too good for a grade: see it on the biggest, best screen you can while you can. BTW--it's better the second time.

• Hard To Watch, But Worth It

  Gene Hoke2000-01-05

  Frank Pierce is at the end of his rope. As portrayed by Nicolas Cage in Martin Scorsese's "Bringing Out The Dead", he is a burned out, alcoholic, insomniac New York City ambulance driver tormented by the ghosts of those he failed to save -- specifically, the ghost of Rose, a young, asthmatic woman he couldn't "bring back". The movie is basically a snapshot of Frank's life -- three days of hell as seen from his vantage point : a speeding ambulance by which a blurred, uncertain, frightening, and often oppressive world flies. Frank tells us at the movie's outset that he hasn't saved a life in months, and that he's beginning to believe in things like spirits that leave a body and don't want to come back. He's starting to feel like a "grief mop", like his only real responsibility is to "bear witness" to death and suffering. Frank and his partner Larry (John Goodman) are attempting to resuscitate a heart attack victim as the movie begins, and as the man's daughter Mary (Patricia Arquette) looks on in horror, Larry is successful in pulling him back from death's door. The overrun hospital, however, shoves him into a corner and keeps him drugged up, shocking him back to "life" when necessary. Mary tells Frank she hadn't spoken to her father for a long while before his attack, and in fact had often wished he were dead, but that now there's nothing she'd like more that to just hear his voice again. She was once a junkie but has now been clean for months, she tells him. Frank seems moved by Mary, seems to want to "save" her -- perhaps he thinks if he can save her, he will be able to let go of the pain of losing Rose. Frank's developing feelings for Mary provide a counterpoint to the insanity he encounters on emergency calls with his partners Larry (John Goodman), Marcus (Ving Rhames), and Walls (Tom Sizemore). Sometimes the calls involve merely picking up the local smelly drunk Mr. O, their "most frequent flier" who seems to think the hospital is a nice place to sober up. Other times they involve matters that are much more serious, like resuscitating a heroin OD in a club (a great scene) or assisting in the allegedly virgin birth of twins (haunting, and one of the movie's many examples of religious imagery). But no matter where Frank goes, he sees Roses' face -- he sees her everywhere, she comes to him in the guise of the nameless street people that cross his path. There really is no plot to "Bringing Out The Dead", and that's a good thing because the movie isn't meant to be a straightforward narrative. It's meant to be a snapshot of a man's soul, of his inner demons, and a conventional plot would only cloud the movie's real point. The narrative thrust comes mostly from Frank's interactions with his partners -- each of them representing a different approach, a different way of dealing with the pain brought on by this nerve wracking job. Larry (Goodman) seems to be able to block out the emotional aspects of his job, he seems to see his position mainly as a means to an end, and in fact he tells Frank he'll be a captain one day. Marcus (Ving Rhames, in a scene stealing performance) puts all trust and faith in God, believing that if someone dies, it's just their time to go. Walls (a scarily effective Tom Sizemore) is a borderline psychotic, terrorizing patients (including dread locked street person Noel, well played by singer Mark Anthony) and bashing in his ambulance headlights with a baseball bat. If these three provide the kinetic thrust of the movie, Frank and Mary provide it's emotional center. Frank finds himself drawn closer and closer to Mary, and in fact he tries to rescue her when she resorts to visiting scummy drug dealer Cy Coates (the excellent Cliff Curtis) at the Oasis, a scarily shot urban hellhole that seems to be a local haven for drug dealing. She needs some respite, however temporary and narcotic, from the pain, and in this sense she has a link with Frank (who drinks on the job and taps into his own medical supplies to get high). The movie seems to be saying that these two people need each other; perhaps each has what is needed to soothe the other's hurt. "Bringing Out The Dead" is the fourth collaboration between Scorsese and screenwriter Paul Schrader, and it touches on their familiar themes of faith, guilt, hope, and redemption. Much has been written about the similarities between this film and "Taxi Driver", Scorsese's 1976 ode to urban rot. I feel these similarities are somewhat superficial. Though Frank and Travis Bickle are both lonely, disenfranchised, ill people, Frank wants to help people; Bickle just wants to clean the "trash" up off the streets. Bickle lashes out in rage; Frank lashes out in fear and desperation. Schrader's screenplay offers satisfying levels of complexity, so that ultimately, towards the end, when Frank does something totally unexpected and morally ambiguous, we understand exactly why he's doing it and can sympathize. Of course, from a technical standpoint "Bringing Out The Dead" is flawless. Ace lensman Robert Richardson (who previously worked with Scorsese on "Casino") gives the city an appropriately gloomy, sick look, and his work is especially effective in a scene in which Cy dangles from a sixteenth floor balcony while fireworks explode behind him. Thelma Schoonmaker's expert editing is, as usual, outstanding -- she gives the fast paced scenes the charge they need, and provides some dizzying sped up camera effects during the emergency call scenes. Scorsese's choice of music is great, as is his work with the actors. Sizemore, Anthony, Curtis, Arquette, and especially Rhames are all good, but it's Cage who must hold the movie together, and he succeeds with a towering performance that is easily his best work since "Leaving Las Vegas". Cage is cast perfectly here; his tortured, implosive Frank Pierce is an indelible character. "Bringing Out The Dead" is not for everyone. The movie's lack of a conventional narrative arc will probably confuse and alienate some viewers, and the way it uncompromisingly looks into the darkest corners of human nature with an unflinching eye will disturb others. Yet these qualities are Scorsese's hallmarks, and this film has links to many of his other works -- the confusion of "After Hours", the emotional indecision of "The Age of Innocence", the alienation of "Taxi Driver", the spiritual search of "The Last Temptation of Christ". "Bringing Out The Dead" is not easy to watch, and at times it's hard not to look away. But it's real, and it stays with you.

• Excellent movie

  dmwaves20002005-11-04

  As an emergency physician and film buff, this film is one of my favorites. Martin Scorcese utilized excellent film technique with his inventive camera shots integrated with a dark comedic plot (check out the triage nurse) to create a bright modern cinema masterpiece with rich characters, comedic irony, and a sense of perseverance against overwhelming angst and the dark underbelly of modern urban life. This film is a classic on a par with Harold and Maude, and the King of Hearts. Three thumbs up- (I'm dysmorphic)... In any case, this movie deserves to be watched by anyone involved in healthcare and anyone involved in EMS activities.

• A very under looked film

  ollie1939-97-9579942012-02-11

  Bringing out the Dead is the most underrated film ever done by Martin Scorsese. It is one of the most well made films I've ever seen and is one of my favorite dramas of all time. The film focuses on a paramedic called Frank played by Nicolas Cage. The film focuses on 48 hours of Frank's life as a paramedic and all the horrific things he has seen. As well as that Frank is also haunted by spirits of people who he couldn't save, befriends a young women called Mary played by Patricia Arquette and a whole range of strange partners. The actors that Scorsese has chosen are a weird bunch as they're not really in Scorsese's other films and they're not really big name actors. As well as Nicolas Cage there's also supporting roles from people like John Goodman, Ving Rhames and Tom Siezmore. Everyone does a fantastic jobs even the actors who have much smaller roles than others. This is much more surreal film than most other Scorsese films as we go into Frank's mind. The reasons why this films succeeds is just that you really care about this characters and while the film dosen't really have much of a story it grips you the whole way through. It also has a great soundtrack which includes artists like Van Morrison, R.E.M and the Who. Overall the film is quite different to what you're usually expecting but it grips who the whole way though and it gets a full 5 star rating form me.