“頭を使え！豚のままでは殺られる。”
凄腕の麻薬密売人（＝プッシャー）であるフランクは、相棒のトニーとともに麻薬王のボス、ミロからの仕事をこなしては金儲けをしていた。ある時、大口取引のため、ミロに多額の借金をしたフランクだったが、警察の手入れが入り失敗、金も失いボスからは借金返済を執拗に迫られる。麻薬の密売が横行する裏社会で怒涛の借金地獄に陥り、極限状態に追い詰められていく男の姿をとことんダークでスタイリッシュな映像で描くクライム・アクション・ドラマ。デンマーク映画が初めてワールドワイドで成功をおさめたギャング映画と高い評価を得た、ニコラス・ウィンディング・レフン監督の記念すべきデビュー作。
製作費: $965,000 (1億円)
※製作費・興行収入はTMDBのデータを参照しています。収支は(興行収入 - 製作費)で算出したFindKey独自の推定値であり、広告宣伝費や諸経費は含まれません (1ドル=150円換算)。
脚本: Nicolas Winding Refn / Jens Dahl / Louise Trampedach
音楽: Peter Peter / Povl Kristian
制作: Henrik Danstrup / Peter Aalbæk Jensen / Teddy Gerberg
撮影監督: Morten Søborg
制作会社: Balboa Entertainment
A solid crime thriller. <em>'Pusher'</em> entertained me enough, though the plot did feel a bit repetitive as it felt like it kept 'going around in circles' to me personally. Some of the lighting and editing (as in cuts) choices also made the film feel a little more underwhelming. The cast do well, arguably the film's strongest element. Kim Bodnia makes for a solid lead, though his performance is a tad samey throughout - similar to the aforementioned. Mads Mikkelsen's Tonny sticks out because he is being played by Mads Mikkelsen, the character is OK - underused perhaps, though I may just think that as it's Mads... the whole reason I chose to view this trilogy, to be honest. 6/10 would feel harsh so this 1996 release gets 7/10 from yours truly. I didn't overly enjoy it, though I can't exactly say I disliked it either... probably levels out at watchable.
“Frank” (Kim Bodnia) makes a decent living dealing drugs with his skinhead pal “Tonny” (Mads Mikkelsen) until one deal goes a bit pear shaped. That doesn’t go down so well with his supplier, “Milo” (Zlatlo Buric) but when you’re €45k in the hole, you might as well try to deal your way out of it so he promises to make that cash back from the next deal. That goes even worse when the cops intervene and the cocaine ends up in a lake. He’s released from custody, takes his revenge on his erstwhile pal who was a better runner when they were nicked and then heads to his boss to explain that he’s now even more in debt. He is given a little more time but his options are dwindling, his friends likewise and his already borderline sociopathic behaviour is becoming as much a threat to himself as to the people he turns on in desperation. On the face of it, there’s nothing especially innovative about this but as you get into it there’s a lot from Bodnia’s performance here that works. Subtle seems an odd word to use given the activities that goes on, but there is some subtlety here as his character shows signs of “Jekyll and Hyde” syndrome - especially when galvanised by the impressively odious Buric who brings something of the psychotically sleazy to his portrayal. Why is it the kingpin’s in these sort of dramas are always just more toxic versions of “Ratso” from “Midnight Cowboy” (1969)? There’s plenty of action, but precious little graphic violence portrayed as this man’s spiral of misfortune and bad judgement risks the lives of himself and those close. This is a grim indictment of an underground industry that prays on the addicted remorselessly, and personally I consider this as authentic and compelling as anything made on the other side of the Atlantic.
