Review #536: 'Lawless' (2012)

Prohibition-era America is incredibly rich in narrative and mythology. Behind the realities of the great economic depression the underbelly of society rise in criminal organisation, creating the underworld of bootleg alcohol and the clandestine drinking establishments known as speakeasies. With this specific historical backdrop, American cinema has created a glamorised iconography of the 1930's, the idolised gangsters and almost politically justified violence. Lawless only briefly flirts with the glamour of this period, but believes in the self-appointed mythology of it's characters. John Hillcoat and Nick Cave's film embeds itself within the roots, straight to the source of the big city's modern attractions. We're not in Al Capone's Chicago, but deep in the heart of the American wilderness, Franklin County, Virginia.

The three Bondurant brothers, Howard (Jason Clarke), Forest (Tom Hardy), and Jack (Shia LeBeouf), run  a moonshine operation in the sparsely populated backwater town, and despite the national prohibition laws, local authorities participate in alcohol consumption. But even within the moral vacuum of Virginia, the modern corruption and perversity's of the city will inevitably invade. Guy Pearce's sinister and narcissistic "lawman", Charlie Rakes, infects the rustic landscape with his false malevolence. Pearce shaves his eyebrows off for the role, bringing a visual nod towards the characters vanity. His appearance is impeccable, and an odour of perfume is alluded to on occasion, a veneer that hides a deeply sadistic human, a character who also flaunts his wealth within poverty perhaps a signifier of our current perception of the suited banker.

In American Gothic traditions, surrounding the three brothers is a legend perpetuated within the small community, a superstition created out of perceived supernatural beginnings. After the two older brothers escape death in situations where others perished, a myth is attached to them suggesting that the Bondurants are invincible, a narrative that opens a niche in the community where they are impervious to the nations laws. Tom Hardy's middle child is the centre of this family unit, and his hulking presence tersely guides them, where as the elder, Howard, is the fearless bulldog, throwing himself at anything in their way. Forest's violence is calculated, he seems too bulky and clumsy in his laconic mannerisms, but, as in a scene in their bar, a densely packed burst of violence culminates in some horrifically graphic images. Believing your own myth is central to Lawless. Because of this belief, their confidence knows no boundaries. Even the audience is given the evidence to believe, when Forest survives having his throat hacked open.

Whilst the older brothers battle to keep equilibrium, attempting to block the outside, modern world from intruding upon their traditions and redneck hokum, Lawless is fundamentally about the younger Jack, and LeBeouf gives his best performance to date. His character is set up perfectly when witnessing Floyd Banner (Gary Oldman) crashing through the small community, tommygun rattling at the car of his pursuers, the idealised image of gangster chic. Jack idolises these city criminals like teenagers idolise idiot pseudo-celebrity today, highlighting his naivete as he looks into this world from the outside. What comes with Jacks hero-worship is an unwavering ambition to take the bootlegging business further. LeBeouf balances Jack's progression with great intensity, managing the conflicting mix of gullibility and confrontational confidence. Whilst not a perfect performance, I saw a bit of Tom Hanks in LeBeouf.

Like Hillcoat's previous films The Proposition (2005) and The Road (2008), Lawless evokes the visual textures of the landscape. The first in the Australian outback, secondly in a post-apocalyptic world, working again with cinematographer Benoit Delhomme (who collaborated previously on The Proposition), the environment permeates the screen, the dust kicked up from informally created roads, scattered over the wooden, man-made structures, the grit and grime forming with the sticky blood as Jack is violently beaten to the ground by Rakes. The untouched landscape can be both beautiful and malevolent.

A film about corruption, and particularly the long hand that breaks from the city limits to corrupt further afield. 2012 is possibly the perfect time to reflect upon this 21st century depression, and remember not to worship false idols. Nick Cave based his terse screenplay on a novel by Matt Bondurant (grandson of Jack), and obviously is based upon a true story. Whether much has been passed down through the family with ambiguities, the Chinese whisper of myth making is unknown, but the Bondurant brothers seem mythical. Their involvement in a national epidemic, the superstition of death-dodging all add to their own sense of power and the towns fear of them. Are they supernatural heroes of the American psyche? Or, do the older brothers reflect the defeated world of the Wall Street crash, whilst the younger reaches out to the celebrity world of high-class gangster, looking to a future of wealth? It's an interesting inclusion into the reflective nature of cyclical history. As we continue through our own economic crisis, we look back to the past to compare, and check on our evolution, if there is any at all.


Directed by: John Hillcoat
Starring: Shia LaBeouf, Tom Hardy, Jason Clarke, Guy Pearce, Jessica Chastain, Mia Wasikowska, Gary Oldman
Country: USA

Rating: ****

Marc Ivamy