Film Review: The Boondock Saints (1999)
Few films epitomise the deep disconnect between critics and the public as The Boondock Saints, 1999 action comedy written and directed by Troy Duffy, a movie that continues to hold cult status despite being widely reviled by reviewers.
The plot begins in Boston where the protagonists, Irish American brothers Connor (played by Sean Patrick Flannery) and Murphy MacManus (played by Norman Reedus), feel increasingly unhappy about high levels of crime in their community and begin to ponder whether they would do something about it. Following the violent clash with Russian mobsters, they hear the apparent calling from God and decide to cleanse the city of crime, which puts them in conflict with Italian mafia family led by Giuseppe “Papa Joe” Yakavetta (played by Carlo Rota). Brothers win all confrontations and even one of Papa Joe’s men, their friend David “the Funny Man” Della Rocco (played by David Della Rocco), joins their cause. The ensuing bloodshed is investigated by gay FBI agent Paul Smecker (played by Willem Dafoe) who doesn’t hide his sympathies for vigilantes. Papa Joe in the end hires infamous and deadly assassin Il Duce (played by Billy Conolly) to solve his problem.
The Boondock Saints was an attempt to capitalise on the success of Quentin Tarantino by using its formula of blending graphic violence with dark humor. Notably, Harvey Weinstein, an importer booster of Tarantino and promoter of his early works, was involved in the development of the film at the early stages, helping it receive publicity and budget. The inspiration for Duffy’s script was societal breakdown and rising crime rates, the issues the author sought to address through vigilante justice. Drawing parallels to the crime-ridden 1970s America, Duffy explored the concept of vigilantism as a fictional solution to societal problems. Interesting aspect of The Boondock Saints is in its intertwinig vigilantism with Catholicism, with the brothers being driven by their faith to take action. Their mission is sparked by a priest's sermon that retells the infamous story of Kitty Genovese, which, despite its popular narrative straying from actual historical records, often illustrates weakness of modern society in dealing with evil within its ranks.
The Boondock Saints, on the other hand, drew criticism for its graphic portrayal of vigilante violence, as well as the use of offensive language and actions. The inclusion of racial, ethnic, sexist, and homophobic slurs, as well as problematic behaviour towards women and animals, sparked controversy and alienated some viewers, especially in today's more socially conscious climate. But the real problem of the film is technical. The film suffers from poor direction, showcasing Duffy's inexperience as a first-time director. While some “cool” and unconventional stylistic choices like non-linear narration and bizarre shot composition gives the film unique flair at the very beginning, the execution becomes repetitive and tiresome as the film progresses. What ultimately rescues the film are standout performances from supporting actors. Willem Dafoe has the time of his life as the eccentric FBI agent, while Scottish comedian Billy Conolly plays against the type as the sinister hitman. Both men inject just enough energy into the film not to end as a complete waste of time.
Some of the film’s problems can be attributed to troubled production, which was depicted in the 2003 documentary Overnight, shedding light on Duffy's tumultuous journey as a filmmaker. The documentary painted a less-than-flattering picture of Duffy's ego and struggles, suggesting that his work became finished despite instead because of him. Released amidst Hollywood newly found over-sensitivity towards depiction of violence in the aftermath of the Columbine High School Massacre, The Boondock Saints faced limited theatrical release and suffered at box office. However, the film found redemption through strong home video sales and positive word of mouth, probably being interpreted as some sort of clever subversion of emerging Holylwood canons of “political correctness”.
In the end, cult status of The Boondock Saints is undeserved, although those who watch it might find it more watchable than its terrible reputation among critics might suggest. In 2009 Duffy made a sequel The Boondock Saints II: All Saints Day, which repeated the same fate, being savaged by critics and enjoying some sort of commercial success among general public.
RATING: 3/10 (+)
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