25 reviews
As a follow-up to Bad Lieutenant, which could be a possibility for director Abel Ferrara's best work to date (or at least most thought provoking), Dangerous Game aims for lower targets while trying for a similar approach to the dregs of a character's soul. Once again Harvey Keitel is the doomed figure, a man with such a self-destructive impulse that it'll lead him to nowhere decent. But this time he's not a cop on completely the edge of society and self, but a movie director who is making a film with such high-intensity, raw emotional drama that it would make John Cassavetes wince. The main actors in Eddie's movie (Keitel) are Sara (Madonna) and Francis (James Russo) become victim to that old tune of art imitating life, or vice versa (as the chicken came from the egg and back again sort of thing) that starts to make the film within Dangerous Game a very volatile situation. All the while Eddie's demands on his actors involve spiritual death via drugs and alcohol and mutual decay towards one another, an abusive relationship where the sexual games have gone sour and all that's left is remorse and contempt depending on the beat. Soon this seeps out for real, as Francis can't distinguish from acting or reality, and a rape scene within the movie becomes all too real on the set. And, of course, this leads further for Eddie's own path of horror.
Unlike Ferrara's previous film, this time Keitel's character doesn't have that possibility for redemption- in Hollywood, in search of the most brutally honest picture, Eddie Israel won't stop until he practically gets what he's got bottled up inside right onto screen, no matter what it does to his actors whom he professes to enjoy and be friendly with (and with Sara more-so). He indulges in drink and more importantly women via the movie business, while still keeping up appearances with his wife (Nancy Ferrara) and little boy. So with this lack of Eddie meeting towards any kind of possible sign of hope- and keep in mind the Herzog clip from Burden of Dreams- it's almost despair for despair's sake. And watching the scenes being filmed by the actors(The Mother of the Mirrors), though not totally awful, I'm reminded of the old Gene Siskel line about the actors eating lunch being more interesting than the movie itself. Still with these flaws noticed, not to mention a very strange ending that leaves off the character's in some kind of demise either real or filmic (maybe it's the point), it's still a good film, or rather a film that defies its own experimental boundaries to be always fascinating, if only to a film buff like myself.
I liked individual scenes very much, like one where Keitel's character directs Madonna's Sara into delivering lines to the camera believably by insulting her as a 'commercial whore', to which she finally gives him what he wants (it's something that is sometimes mentioned among directors or other actors trying to get believable turns by the other actor), or in seeing the a very understated scene where Keitel and Madonna do a slow dance out by a pool and he sings a soft tune. I also loved the scene involving Keitel and Ferrara (how she's related to the director I don't know) when he reveals to her his major transgressions as she has returned home for her father's funeral (just casting her, too, is wise in showing someone very believable as a person in Hollywood's good & normal side). What helps too is the willingness of the principle actors to just give it their all, as if they'd kill to get what they're doing right for the director, murky script and all. Truth be told, I found this to be a real high point for Madonna as an actress, not playing some easier part to play like in Desperately Seeking Susan or League of Their Own, but having to actually tap into her more decadent side that she loved (at the time) to make as a part of her media image. Russo, too, is good here, if maybe almost dangerously one-note as a man so intense and "method" that he threatens the whole production.
Finally, there's Keitel, who never ceases to amaze me with what he can do even in moments when the material gives him little to do but to look off in a scene with a stare or expression of inner-hell. Actually, that's one of the things he's probably perfected since the 1970s. He has moments where he bends his demanding exterior, and there's tenderness to be found within the self-destructiveness in Eddie. The only problem then lies with Keitel lacking a means to really channel this into something leading somewhere- by the end his character doesn't know what he'll do with the film, or how to finish it, and this sort of abrupt ending leaves the actors as well as the film in the cold. But as a film about film-making, I've seen worse, and I might even like it more if I catch it late one night on cable (definitely *that* kind of movie).
Unlike Ferrara's previous film, this time Keitel's character doesn't have that possibility for redemption- in Hollywood, in search of the most brutally honest picture, Eddie Israel won't stop until he practically gets what he's got bottled up inside right onto screen, no matter what it does to his actors whom he professes to enjoy and be friendly with (and with Sara more-so). He indulges in drink and more importantly women via the movie business, while still keeping up appearances with his wife (Nancy Ferrara) and little boy. So with this lack of Eddie meeting towards any kind of possible sign of hope- and keep in mind the Herzog clip from Burden of Dreams- it's almost despair for despair's sake. And watching the scenes being filmed by the actors(The Mother of the Mirrors), though not totally awful, I'm reminded of the old Gene Siskel line about the actors eating lunch being more interesting than the movie itself. Still with these flaws noticed, not to mention a very strange ending that leaves off the character's in some kind of demise either real or filmic (maybe it's the point), it's still a good film, or rather a film that defies its own experimental boundaries to be always fascinating, if only to a film buff like myself.
I liked individual scenes very much, like one where Keitel's character directs Madonna's Sara into delivering lines to the camera believably by insulting her as a 'commercial whore', to which she finally gives him what he wants (it's something that is sometimes mentioned among directors or other actors trying to get believable turns by the other actor), or in seeing the a very understated scene where Keitel and Madonna do a slow dance out by a pool and he sings a soft tune. I also loved the scene involving Keitel and Ferrara (how she's related to the director I don't know) when he reveals to her his major transgressions as she has returned home for her father's funeral (just casting her, too, is wise in showing someone very believable as a person in Hollywood's good & normal side). What helps too is the willingness of the principle actors to just give it their all, as if they'd kill to get what they're doing right for the director, murky script and all. Truth be told, I found this to be a real high point for Madonna as an actress, not playing some easier part to play like in Desperately Seeking Susan or League of Their Own, but having to actually tap into her more decadent side that she loved (at the time) to make as a part of her media image. Russo, too, is good here, if maybe almost dangerously one-note as a man so intense and "method" that he threatens the whole production.
Finally, there's Keitel, who never ceases to amaze me with what he can do even in moments when the material gives him little to do but to look off in a scene with a stare or expression of inner-hell. Actually, that's one of the things he's probably perfected since the 1970s. He has moments where he bends his demanding exterior, and there's tenderness to be found within the self-destructiveness in Eddie. The only problem then lies with Keitel lacking a means to really channel this into something leading somewhere- by the end his character doesn't know what he'll do with the film, or how to finish it, and this sort of abrupt ending leaves the actors as well as the film in the cold. But as a film about film-making, I've seen worse, and I might even like it more if I catch it late one night on cable (definitely *that* kind of movie).
- Quinoa1984
- Jan 2, 2007
- Permalink
While shooting a movie in Los Angeles about the abused wife Sarah Jennings (Madonna) that has converted to Christian and her husband Francis Burns (James Russo) that misses their orgies, the New Yorker director Eddie Israel (Harvey Keitel) pushes his lead actor and actress to the edge affecting their real lives. Eddie has one brief affair with Sarah but he feels also affected by his work and confesses the truth about his many infidelities to his wife Mad Israel (Nancy Ferrara), blurring fiction and reality and destroying his marriage.
"Dangerous Game" is a sort of experimental "movie within a movie" showing a parallel journey to hell of the character, lead actor and director blended with sex, drugs and booze. The result is a strange and unpleasant movie but very well acted, especially by Madonna that has a magnificent and very convincing performance. It is not entertaining and certainly not the best film of Abel Ferrara, but for fans like me it is worthwhile watching it. My vote is six.
Title (Brazil): "Olhos de Serpente" ("Eyes of Snake")
"Dangerous Game" is a sort of experimental "movie within a movie" showing a parallel journey to hell of the character, lead actor and director blended with sex, drugs and booze. The result is a strange and unpleasant movie but very well acted, especially by Madonna that has a magnificent and very convincing performance. It is not entertaining and certainly not the best film of Abel Ferrara, but for fans like me it is worthwhile watching it. My vote is six.
Title (Brazil): "Olhos de Serpente" ("Eyes of Snake")
- claudio_carvalho
- Apr 18, 2008
- Permalink
Not a particularly entertaining movie this one, but definitely an interesting watch when you take into consideration not only the movie, but the similarities which surrounded its release. And of course Madonna, who (unwittingly?) gives the best performance of her much ridiculed celluloid career.
The film revolves around director Eddie Israel (Keitel) and his supporting cast members in their journey to film the uber-dark relationship drama 'Mother of Mirrors'. Starring alcoholic drug dependent Francis Burns (James Russo) and recent Christian convert Sarah Jennings (Madonna) the film within a film blurs over into real life, leaving the viewer confused about whether the actors are acting their character in 'Mother', their character in 'Dangerous Game' or even their character in real life. The confusion even seems apparent on set, with one directors clapper-board shots with the movies real director A. Ferrara noted on it.
In reality, Ferrara had to resort to accepting finance for the film by Madonna's Maverick Films and thus also accepting its MD as his leading actress. Madonna once said that when she attended the premiere she left the theatre crying as it was in her eyes a completely different movie, and all her best scenes were cut. Dig a little deeper with this one and you might be able to see the underlying story which is far more interesting than what's bubbling on the surface.
The film revolves around director Eddie Israel (Keitel) and his supporting cast members in their journey to film the uber-dark relationship drama 'Mother of Mirrors'. Starring alcoholic drug dependent Francis Burns (James Russo) and recent Christian convert Sarah Jennings (Madonna) the film within a film blurs over into real life, leaving the viewer confused about whether the actors are acting their character in 'Mother', their character in 'Dangerous Game' or even their character in real life. The confusion even seems apparent on set, with one directors clapper-board shots with the movies real director A. Ferrara noted on it.
In reality, Ferrara had to resort to accepting finance for the film by Madonna's Maverick Films and thus also accepting its MD as his leading actress. Madonna once said that when she attended the premiere she left the theatre crying as it was in her eyes a completely different movie, and all her best scenes were cut. Dig a little deeper with this one and you might be able to see the underlying story which is far more interesting than what's bubbling on the surface.
- winsumlosesum
- Apr 6, 2008
- Permalink
Being a HUGE Madonna fan I had to have this film. Dangerous Game is good and bad for many reasons. First.. It's confusing...but mainly because you don't know where the characters who are playing characters start and end. But that also may be what the director intended.
Second.. the editing.. it was rushed or done on equipment that was of little quality. There are times when the dubs are not with the video.. some parts are a mess.. but again.. intended or not?
Thirdly the acting. Keitel is ... well... Keitel... not too much of a stretch.. Keitel, Russo, and Madonna often times seem to improvise... few lines seem scripted.
Sidebar on Madonna and acting...
Madonna usually has a shining moment or two in most of her films, but more often than not Madonna and acting don't mix. I can say that because I am a Madonna fan. Madonna is the "Queen Of Deadpan," she says a line and... NOTHING. She seems to be thinking about her next line while the other person is speaking, which hinders delivery and expression... plus she blinks WAY too much. Those are her biggest acting flaws... DIRECTORS TAKE NOTE... I summed it up... VOILA!
But I digress...
In Dangerous Game, Madonna shows us some of her BEST ACTING TO DATE! There are countless scenes where she is not left to carry the film. She lets her hair down and is actually believable. The scene near the end.. with Keitel actually egging her on to get a REAL reaction. "You think you're so smart"... is BRILLIANT!
Finally... Often times there are scenes where the director seems to use genuine behind-the-scenes footage of Madonna, Keitel and Russo. Sadly the only reason I say this is because Madonna's acting is too good and her performance too genuine. This again confuses the audience. Intended or not?
This film is extremely choppy... very gritty... very dirty... very raw... very sick... very violent..
but very boring in some sections...
I didn't enjoy this film the first time I saw it, and often times I fast forward through scenes when I watch it today. But, the film does have some quality to it that makes you ask... Was that supposed to happen? Is that Madonna or Sarah or what? Did they? Did She? Oh My!
If you like a movie where the ending is not black and white you'll enjoy Dangerous Game.
Second.. the editing.. it was rushed or done on equipment that was of little quality. There are times when the dubs are not with the video.. some parts are a mess.. but again.. intended or not?
Thirdly the acting. Keitel is ... well... Keitel... not too much of a stretch.. Keitel, Russo, and Madonna often times seem to improvise... few lines seem scripted.
Sidebar on Madonna and acting...
Madonna usually has a shining moment or two in most of her films, but more often than not Madonna and acting don't mix. I can say that because I am a Madonna fan. Madonna is the "Queen Of Deadpan," she says a line and... NOTHING. She seems to be thinking about her next line while the other person is speaking, which hinders delivery and expression... plus she blinks WAY too much. Those are her biggest acting flaws... DIRECTORS TAKE NOTE... I summed it up... VOILA!
But I digress...
In Dangerous Game, Madonna shows us some of her BEST ACTING TO DATE! There are countless scenes where she is not left to carry the film. She lets her hair down and is actually believable. The scene near the end.. with Keitel actually egging her on to get a REAL reaction. "You think you're so smart"... is BRILLIANT!
Finally... Often times there are scenes where the director seems to use genuine behind-the-scenes footage of Madonna, Keitel and Russo. Sadly the only reason I say this is because Madonna's acting is too good and her performance too genuine. This again confuses the audience. Intended or not?
This film is extremely choppy... very gritty... very dirty... very raw... very sick... very violent..
but very boring in some sections...
I didn't enjoy this film the first time I saw it, and often times I fast forward through scenes when I watch it today. But, the film does have some quality to it that makes you ask... Was that supposed to happen? Is that Madonna or Sarah or what? Did they? Did She? Oh My!
If you like a movie where the ending is not black and white you'll enjoy Dangerous Game.
Keital excels once again under Ferrara's direction, this time as a film director whose life crumbles during the making of a movie. An edgy performance from Russo and a surprisingly good one from Madonna. Ferrara maintains a documentary feel, allowing the actors to adlib, giving it a realistic feel. Only shame is the rushed ending.
A number of good performances in this film. Harvey Keitel, as always, plays an unflattering character in a thoroughly professional manner, never succumbing to the temptation to overact. James Russo was way over the top, although that's not a criticism of him, that's the way the role is written. Madonna was quite good here, too, a lot of quiet, soulful eyes. I even liked Nancy Ferrara, who appears to be the director's wife, in a fairly substantial role. However, the movie overall bored me. A lot. Maybe I missed something, but this film did not hold my interest at all. Grade: F
Psychological drama within a drama, centered around a film shoot, where the line between reality and the film's story start to blur.
- xuenylomluap
- Dec 9, 2020
- Permalink
Unappetizing wallow has impassioned movie-director Harvey Keitel guiding an actor and actress through the rigors of filming a psychological drama about an obsessive-compulsive, coke-snorting sadist and his victimized wife. Originally titled "Snake Eyes", this messy picture hopes to tread that surreal line between movie-art and life-imitating-art, but it ain't "The French Lieutenent's Woman". Madonna, whose company Maverick produced the pic, is battered around and continually abused, yet manages to show flickers of focus and credibility as an actress that haven't always been apparent in her star-vehicles. Director Abel Ferrara has obviously managed to gain the trust of his entire cast, but his artifices combined with theirs is a deadly match. The film-within-the-film is nasty and off-putting, with sinewy James Russo taking method acting to an all-new low (which is partly Ferrara's fault, he's not a filmmaker interested in nuances). The movie does indeed go for broke, yet the whole thing is pointlessly broad and loud, and eventually just tiresome. *1/2 from ****
- moonspinner55
- Jun 23, 2006
- Permalink
This one is not your typical Hollywood fare. Emotionally gripping and confronting, "Dangerous Game" cuts to the core of human nature and our search for answers and meaning. Abel Ferrara's exploration of our desires, fears, and failings rings painfully true. Starring Madonna (don't let that put you off) Harvey Keitel and James Russo, and directed by Abel Ferrara, this is an interesting psychological drama about a directors obsession with his film, and the stars breakdown of reality during their making of it. This film is filmed like a documentary about the actors in their film how they get on or not get on you will have to watch it to get the benefit, my description is not fulfilling the content of the film very well.
Madonna and Harvey Keitel are extremely good on their roles, and Madonna is actually able to prove that she can be very good if the role is good enough. She delivers a sincere performance about an actress too embroiled in the characters she plays. Along with the legendary Harvey Keitel, the cast does an amazing job portraying the seedy underbelly of the film industry, using what appears to be old- school method acting. Possibly the best Madonna performance in a movie ever! Such a shame her acting didn't continue along this road. She's actually very credible in this and years later, the movie itself seems much more cohesive than it was upon first viewing.
Overall rating: 8 out of 10.
Madonna and Harvey Keitel are extremely good on their roles, and Madonna is actually able to prove that she can be very good if the role is good enough. She delivers a sincere performance about an actress too embroiled in the characters she plays. Along with the legendary Harvey Keitel, the cast does an amazing job portraying the seedy underbelly of the film industry, using what appears to be old- school method acting. Possibly the best Madonna performance in a movie ever! Such a shame her acting didn't continue along this road. She's actually very credible in this and years later, the movie itself seems much more cohesive than it was upon first viewing.
Overall rating: 8 out of 10.
- PredragReviews
- Apr 3, 2017
- Permalink
I don't like this movie because it is very depressing. And I also don't like it because it's not a happy movie. Plus there is violence and rape in this movie which is very bad. And some of the scenes are too dark to see what's going on.
- ulisses_phoenix
- Aug 31, 2020
- Permalink
Why has this movie not benefited of a good release? I discovered it one night, as it was screened on the tv, and I was simply astonished. This a total perverse movie, playing on the edge of reality & fiction. Simply troubling,and dangerous. If you like getting close to the edge of things...
Madonna is far better in Body of Evidence, but what a lousy, depressing movie. No plot, just inferiority and substance abuse. Angry angry film, ridiculous ending.
- jeffcwatson
- May 30, 2021
- Permalink
If you have a dark world view and a great deal of patience,
Dangerous Game might be the flick for you. It made me think
about the individual scenes that make a film, and the performances therein that elicit a particular response in the viewer. The whole movie is difficult to watch-at times I had to look away.
On the surface one might dismiss it as Crackhead Cassavetes.
But Keitel's character Eddie Israel and real-life director Abel
Ferrara's intentions run parallel-both men lead their actors on a
descent into a personalized hell. The script on occasion seems
ponderous and repetitive-at some points it seems as though
director Eddie Israel's film-within-a-film consists of only one
scene. James Russo (always creepy to watch) is a tightly-wound
sickening knot as Burns, and Madonna's portrayal of Sarah as
victim is an equally punishing one, both for the actress and the
viewer. And when Keitel hits you with the signature half-whine,
half-howl we hate to love him for, the fat lady has sung. There isn't
one weak performance in this film, but it's not fun at all. You
wonder why this is called entertainment. It's entertaining in the
same way watching two strangers nearly come to blows is
entertaining-you end up feeling good because it's not happening
to you.
Dangerous Game might be the flick for you. It made me think
about the individual scenes that make a film, and the performances therein that elicit a particular response in the viewer. The whole movie is difficult to watch-at times I had to look away.
On the surface one might dismiss it as Crackhead Cassavetes.
But Keitel's character Eddie Israel and real-life director Abel
Ferrara's intentions run parallel-both men lead their actors on a
descent into a personalized hell. The script on occasion seems
ponderous and repetitive-at some points it seems as though
director Eddie Israel's film-within-a-film consists of only one
scene. James Russo (always creepy to watch) is a tightly-wound
sickening knot as Burns, and Madonna's portrayal of Sarah as
victim is an equally punishing one, both for the actress and the
viewer. And when Keitel hits you with the signature half-whine,
half-howl we hate to love him for, the fat lady has sung. There isn't
one weak performance in this film, but it's not fun at all. You
wonder why this is called entertainment. It's entertaining in the
same way watching two strangers nearly come to blows is
entertaining-you end up feeling good because it's not happening
to you.
Director Abel Ferrara's "movie-movie" has director Harvey Keitel (as Eddie Israel) filming "Mother of Mirrors" starring Madonna (as Sarah Jennings) and James Russo (as Francis Burns) as a "real life" married couple. Madonna wants to be a real actress, and is finding her religion. Mr. Russo wants to continue a sex 'n' drugs lifestyle. This is an attempt to make a shocking, cutting edge movie with a lot of adult language sprinkled with some violent simulated sex. Madonna looks hot in scenes with a sheer shirt and (later) nada. The characters are neither good nor bad enough to make you care about them in either way, although they TRY.
* Dangerous Game (1993) Abel Ferrara ~ Harvey Keitel, Madonna, James Russo
* Dangerous Game (1993) Abel Ferrara ~ Harvey Keitel, Madonna, James Russo
- wes-connors
- Dec 31, 2008
- Permalink
Madonna has never been an actress. That's really not in question in this movie either. She's a media draw. The movie tries to be dark and artistic. It ends up dark and... Something. The acting is okay but the characters they play are all mixed up in their real-life personas, their characters in the movie and the characters in the film. None of them are done well.
- lesliebham
- Jan 17, 2021
- Permalink
One of the first movies in a while to really drag me in, possibly thanks to the performances of the leads.
This feels REAL, and it's intense. A movie about the making of a movie where the drama is just as solid and visceral off-screen as it is on, but it's not some reality TV rubbish, it's a deeper reflection on life and relationships. That is, the movie that's depicted as being filmed, and the movie you're watching.. like layers of Inception.
This movie studies what people need to be whole, whether they're intrinsic or extrinsic, whether they need others, need drugs, need alcohol, money, god, or can be whole within themselves. The confusion that lust sows. The conflicts that occur when those needs are at odds between partners. The nature of need. How sometimes when we love someone, they become a part of us, and the separation becomes physical.
Finally a movie that was worth my time.
This feels REAL, and it's intense. A movie about the making of a movie where the drama is just as solid and visceral off-screen as it is on, but it's not some reality TV rubbish, it's a deeper reflection on life and relationships. That is, the movie that's depicted as being filmed, and the movie you're watching.. like layers of Inception.
This movie studies what people need to be whole, whether they're intrinsic or extrinsic, whether they need others, need drugs, need alcohol, money, god, or can be whole within themselves. The confusion that lust sows. The conflicts that occur when those needs are at odds between partners. The nature of need. How sometimes when we love someone, they become a part of us, and the separation becomes physical.
Finally a movie that was worth my time.
- interloperux
- Mar 3, 2015
- Permalink
This is a strange and disturbing experimental movie. A rare and great performance by Madonna. She actually can act under the control of the right director. Although, I hear she hated. It seems ironic that she finally makes a good movie and doesn't even realize it. I guess she made some complaints that she thought her character was going to be stronger. (Funny, if she wants to be a Feminist Avenger, or some kind of role model of strength, maybe she shouldn't have made a career out of exploiting herself for fame and the all mighty dollar. Okay, now I'm ranting, but isn't funny how men are especially really down with the NeoFeminist Bull about how it's actually empowering for women to exploit themselves.) Ferrara plays with the autobiographical nature of the subject matter. The plot centers on a film director who compartmentalizes his personal and professional life, until the secrets of his professional life overwhelm him.
What's so remarkable about Abel Ferrara, at his best, is that his films scarcely feel like fiction. This is a director whose works are commonly steeped in drug use, immense self-debasement, and exploding, deeply confrontational personal drama. Just as the line emphatically blurs in 'Dangerous game' between the story and the story within a story, one can't help but wonder how much of Ferrara himself, and his frequent collaborators, are instilled into the characters. The narrative herein is a jumble of what is "real" and what is not, and appropriately, the words best used to describe the approach to communicating it are a little contradictory. On the one hand the picture is surprisingly direct and unembellished, launching swiftly into the plot and letting the tale speak for itself without any hooks, twists, or devices, or even substantial use of music. At the same time it comes across as very open, and loose - as we watch the progression of a filmmaker and his actors losing themselves in the movie they're making, and the mirror it holds up to their own lives, anything could happen, no matter how gnarly or devastating, and it would feel organic and fluid. There's a daring, harsh, stark realism coursing through 'Dangerous game' that's wonderfully gripping - this is fantastic!
While it's not the focus, there's delicious flavoring of psychological drama in the feature as turmoil within and between the principal characters grows in tandem with the difficulties of and in the movie being produced. With that said, as brilliant and vibrant as Nicholas St. John's screenplay is, bursting with ugly life, the cast is almost more important than the writing of a concrete narrative. James Russo has a long list of credits to his name, but I've never seen him give a performance as violently jarring, believable, and downright excellent as his portrayal of Frank. Madonna has enjoyed a rather incredible acting career, appearing in some very noteworthy titles and rightfully earning nominations and awards with the tremendous range and poise she demonstrates, but the role of Sarah opens channels that feel like an entirely different side of her. And Keitel, bless him, is a veritable pillar of Ferrara's pictures. As much as he has tended to take on seedy, dubious roles in one place or another, Eddie is a cold, swirling mess, and Keitel embodies the character with marvelous nuance and presence. Critically, wrapping all this together, Ferrara's direction is superb. As intense as the conflicts already are among the characters and in themselves, the arrangement of every shot and scene feels fiercely personal and adversarial, as though the capturing of these moments in front of us is a belligerent drunk getting in our face. This is echoed in the fundamental camerawork, dynamic and freely moving; where the image does sit still, the moment is all the more impactful for it. Hats off to Ken Kelsch for outstanding cinematography!
Every element of the production seems geared toward making 'Dangerous game' feel as filthily upfront and pointedly present as it could be, and the effort paid off handsomely. Costume design, hair and makeup work, lighting, effects, and set design and decoration all feed into the acrid miasma in which the saga and its characters are steeped. Cast, crew, and filmmakers all - the work poured into this is stupendous. The result is a feature that's inescapably absorbing, evoking indistinct but unmistakable emotions in reaction to the tawdry tableau before us. Between Russo, Madonna, and Keitel alone this is worth watching, let alone Ferrara or St. John, or anyone else. I hoped to enjoy this (though not all of the director's movies are equal), but still my best expectations have been far surpassed. I'm roundly impressed, and I think this may be my favorite of the director's films to date. One should note a content warning for considerable nudity, sex, violence, and drug use, but provided this are no obstacle, I think 'Dangerous game' is a great movie that's well worth seeking out.
While it's not the focus, there's delicious flavoring of psychological drama in the feature as turmoil within and between the principal characters grows in tandem with the difficulties of and in the movie being produced. With that said, as brilliant and vibrant as Nicholas St. John's screenplay is, bursting with ugly life, the cast is almost more important than the writing of a concrete narrative. James Russo has a long list of credits to his name, but I've never seen him give a performance as violently jarring, believable, and downright excellent as his portrayal of Frank. Madonna has enjoyed a rather incredible acting career, appearing in some very noteworthy titles and rightfully earning nominations and awards with the tremendous range and poise she demonstrates, but the role of Sarah opens channels that feel like an entirely different side of her. And Keitel, bless him, is a veritable pillar of Ferrara's pictures. As much as he has tended to take on seedy, dubious roles in one place or another, Eddie is a cold, swirling mess, and Keitel embodies the character with marvelous nuance and presence. Critically, wrapping all this together, Ferrara's direction is superb. As intense as the conflicts already are among the characters and in themselves, the arrangement of every shot and scene feels fiercely personal and adversarial, as though the capturing of these moments in front of us is a belligerent drunk getting in our face. This is echoed in the fundamental camerawork, dynamic and freely moving; where the image does sit still, the moment is all the more impactful for it. Hats off to Ken Kelsch for outstanding cinematography!
Every element of the production seems geared toward making 'Dangerous game' feel as filthily upfront and pointedly present as it could be, and the effort paid off handsomely. Costume design, hair and makeup work, lighting, effects, and set design and decoration all feed into the acrid miasma in which the saga and its characters are steeped. Cast, crew, and filmmakers all - the work poured into this is stupendous. The result is a feature that's inescapably absorbing, evoking indistinct but unmistakable emotions in reaction to the tawdry tableau before us. Between Russo, Madonna, and Keitel alone this is worth watching, let alone Ferrara or St. John, or anyone else. I hoped to enjoy this (though not all of the director's movies are equal), but still my best expectations have been far surpassed. I'm roundly impressed, and I think this may be my favorite of the director's films to date. One should note a content warning for considerable nudity, sex, violence, and drug use, but provided this are no obstacle, I think 'Dangerous game' is a great movie that's well worth seeking out.
- I_Ailurophile
- Jul 27, 2022
- Permalink
Madonna is known for not being the best actress, and she agrees, as seen in her documentary "Truth or Dare." However, the fact is, in this movie, Madonna gives the best performance I have seen. I believe it is even better than Evita. The way the movie is set up is also interesting, crossing between a the story, scenes from the film in the story, and a documentary about the film within the story. Yet, the set up isn't confusing at all. I would consider it one of my favourite movies along with Madonna's best.
- GigoloJoe1814
- Jan 4, 2002
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- lchadbou-326-26592
- Sep 11, 2013
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Boring, dark, nasty, and too long but in all this an incredibly good Madonna. The critics asked themselves how she could be so good and were truly worried about it, but fortunately the movie completely failed at the box office. I love Madonna but I admit that I wasn't able to watch this movie.. Iìve tried it twice, but both times after a mid-hour I've stopped it.. It's just too dark, disgusting and cruel and that poor Madonna, bit and humiliated all the time! The example that a good-acting can't make a good movie if the script is weak. Madonna, another time chooses a wrong script, but at least nobody has said that in this movie she can't act!
- beachboy1893
- Feb 28, 2006
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Another great job from Abel Ferrara and, this time more serious than ever, Madonna. From the beginning till the end a fabulous example of great action, wonderful acting and good director's job. Definitely - it is worth to see!
SNAKE EYES (to refer to the film under its original title, rather than the moronic "lets disguise this difficult work as a made for TV erotic thriller" title used for US release) is quite simply the finest American film of the 1990s. Nothing else even approaches it. The evidence is on the screen. Unfortunately, some people refuse to believe their own (snake) eyes. They refuse to look. There cannot be any other reason why they refuse to acknowledge this.
Madonna(Sarah Jennings) showed her great talents in this picture, her role as Sarah made you want to stand up and clap your hands constantly, her great acting with Harvey Keitel (Eddie Israel) who was a womanizing director, also directed Madonna in very difficult scenes in the film he was producing, and also shared her bed along with an airline stewardess after telling his wonderful wife Nancy Ferrara of his horrible habits with women he has met and loved over the many years of his career and his many lies! If you like how Hollywood produces films behind the scenes and some of the tricks of the trade, this film should be a must to see, especially when you can see MADONNA in her greatest acting role! It seems that all the actors in this film were destined to destroy each other in one way or the other.
As all Madonna's fans can attest, the worst thing about the great lady's film career is the fact that before Evita, every single excellent perfromance she delivered went completely unnoticed in films no one saw (just as the not-so-great performances were in highly publicized films which everyone saw fail). In Bloodhounds of Broadway, she delivered a finer and funnier version of her Who's That Girl character, and the world went unperturbed; similarly, when Abel Ferrara released Dangerous Game it played in legitimate theatres for about a week and then completely disappeared. Well, that just means you all have to go out and rent it--but don't expect too much from the film itself. The plot concerns a film director (Harvey Keitel) making a disturbing film about an abusive marriage (James Russo, Madonna), that is so harrowing to film that the events on-set seep into the real lives of those working on the picture. Ferrara never actually makes the connection between these two events strongly enough (the strongest indication I had about it all happening was that it was described so on the video box), and you're left with the impression that Keitel's character is more selfish and overly self-indulgent than disturbed. Russo is strong in his performance, but his character is so unlikeable and he doesn't manage to find any humanity in it, so it destroys his effectiveness. Madonna, on the other hand, is unbeatable as the actress whose accustomed commerciality and professionalism is challenged on a set where no holds are barred. You'll be amazed at what she's capable of, as well as disappointed that when she finally gets to work with such a great director she ends up in one of his worst films ever. Ferrara's real-life wife Nancy plays Keitel's bewildered wife, and does a heartful job that is quite memorable even though she's obviously not a professional actress. Produced by Madonna's company Maverick Productions.