“The Crow”

By Andrew Smith
Flipside Film Critic

It’s not uncommon for movies to become more famous for what goes on behind the scenes than for what’s actually on the screen. There are countless Hollywood stories of disastrous shoots (“Apocalypse Now”), budget overruns (“Cleopatra”), raging egos (just about any Stanley Kubrick film) and even star deaths (“Rebel Without a Cause”).

Of all these infamous films, perhaps the one that stands out most prominently, at least in terms of tragedy, is 1994’s “The Crow.”

Adapted from the eponymous cult comic book, “The Crow” was intended to be the star-making vehicle for an up-and-coming young star: Brandon Lee, son of the legendary Bruce Lee. Unfortunately, a freak on-set accident involving the misuse of a prop gun resulted in his death.

The legacy of “The Crow” is a bizarre, seemingly paradoxical thing in that it serves as both a phenomenal debut and fitting swan song for Lee. If nothing else, the film is worth watching simply for his performance.

He exhibits an innate star quality and magnetic screen presence that proves he was not simply riding on his father’s coattails. Even if Bruce Lee had never become an icon, his son would have made a name for himself through his own means.

Destined to become a cult classic even without the tragedy surrounding it, “The Crow” is a frenetic, kinetic and visually-stunning ride. Though an actual plot and character development are nearly nonexistent, the film’s seductive, atmospheric visuals and pounding hard-rock soundtrack are enough to make one overlook this.

The film is a sensory experience, not an intellectual one. This is hardly surprising, considering that director Alex Proyas came from the world of advertising and music videos before making this his debut feature film.

As for the plot, it’s quite simple: musician Eric Draven and his fiancée are murdered by drug-addled thugs on the eve of Halloween. However, according to the narration, there are times when a spirit is so tortured by unsettled business during its mortal life that it is resurrected by a crow in order to right the wrongs of the past. On the first anniversary of his death, Draven emerges from the grave to exact his vengeance.

The film primarily follows the exploits of Draven as he hunts down and murders (in increasingly gory fashion) the thugs responsible for his murder. It essentially begins with Draven bursting from his grave — his and his fiancée’s deaths are shown via extremely jolty, stylized flashbacks.

The character development fares no better than the plot. All of the villains are little more than caricatures of gangsters and drug addicts. Even Draven himself is shown as little more than a merchant of death, systematically and ruthlessly tracking down and brutally killing his enemies.

But to pick apart such things is a futile endeavor. And, besides, to bother oneself with such musings is to entirely miss the point of the film.

As previously mentioned, “The Crow” is one of the most visually-pioneering films in recent cinematic history. The world Draven inhabits is said to be Detroit, but “hell on earth” would be a more accurate description. The nightmarish urban landscape is made up of equal parts “Blade Runner” and Tim Burton’s Gotham City.

Shadows cast jagged, alien shapes upon the streets; buildings loom claustrophobically overhead and the overall tone is one of grunge and malice. It’s a comic book world brought to life if there ever was one, and it’s one of the most inspired visual designs ever captured on film.

Though not a cinematic masterpiece, “The Crow” is certainly worthy of viewing. Film is primarily a visual medium, capable of achieving things that literature or music simply cannot. And in that regard, there are few other films that rival “The Crow.”