Creatures of the Night

NIGHTCRAWLER

Director: Dan Gilroy

Screenplay: Dan Gilroy

Cast: Jake Gyllenhaal, Rene Russo, Bill Paxton

5/5

Nightcrawler starts off innocently enough, with classic shots of the LA skyline at night, millions of lights fending off the darkness, before crashing down to a man cutting through a wire fence. A police car pulls up, revealing the face of Lou Bloom (Jake Gyllenhaal). Gaunt – unnervingly so – Gyllenhaal is an instantly magnetic screen presence. A twitching bundle of nervous energy, speaking in a high-pitched, nasal patter, his Bloom is the vehicle for Nightcrawler’s story, the tale of a man driven to succeed, a man who uses the vapid, bland language of ‘management speak’ to justify his every action, regardless of the morality – or otherwise – of the situation.

It’s that absurd contrast – the use of everyday, borderline meaningless terminology in the fact of actions far beyond ordinary situations – that lends the film a large swathe of its dark humour, as well as the key thrust of its satire. The rest of the humour is found in Bloom’s bluntless in romantic matters, as he avoids any sense of tact when dealing with Rene Russo’s TV producer Nina. This isn’t a comedy, by any stretch of the imagination – it’s quite the opposite – but laughter still slips through the cracks.

Nightcrawler is most definitely a satire, however, albeit not the one you’d expect. Dealing as it does with the freelance ‘journalists’ running around with video cameras in L.A. at night (the titular ‘nightcrawlers’), filming the results of crimes and accidents and selling the tapes to the news, there’s a lot of room to maneouvre when it comes to taking potshots at the press. To the film’s credit, while it takes its fair share of swipes in that general direction, it also opens fire on the culture of business. Bloom’s sole aim – his entire purpose – is to be in charge of his own, successful business. Everything he does, everything he says, all is in the name of achieving that goal, morality be damned; which is partially why he’s so terrifying.

Despite the sheer amoral malevolence that Bloom radiates, the film manages what should be impossible, twisting the audience’s sympathies until you actively want Bloom to succeed. The score by James Newton Howard is among the main culprits for this successful manipulation – never too intrusive, always simmering in the background, it subtly toys with traditionally heroic themes as Bloom succeeds, quietly suggesting something more than the obvious scorn and fear the character deserves.

The sheer number of times Bloom’s name has already appeared should be some indication as to how vital he is to the film – and through that, how essential Gyllenhaal’s performance is. It is an utterly transcendent showing, easily the best performance of his career so far. It is a Robert de Niro in Taxi Driver for the modern day, with strands of de Niro’s performance in King of Comedy, and it deserves all of the praise and Oscar buzz it’s getting. It is not an obvious contender – very much the dark horse of the contest – but don’t be surprised to see Gyllenhaal’s name on more than a few shortlists come awards season.

When it comes to bringing up the de Niro/Scorcese films and Nightcrawler’s obvious heritage in that department, it’s worth noting that the film can’t escape other comparisons to the past, not least to fellow L.A.-based Drive (it certainly shares a love of the grimy, the claustrophobic, the dark, seedy side of the city), but it still manages to rise above the risk of appearing solely derivative, instead becoming something so much more.

Credit for this must almost certainly go in no small part to writer/first-time director Dan Gilroy, a man previously responsible for the screenplay/story for the likes of The Bourne Legacy and Real Steel: nothing particularly terrible, but nothing – nothing – quite like this. It’s a confident debut, utilising all the tricks of the trade, and still finding room for minor innovations to ensure the film never slows down or feels old. There’s a vast array of glorious shots, occasional flashes of symbolism that demand this film be rewatched, studied, dissected. Not something you could say about_ Real Steel_.

There’s a lot more to be said about Nightcrawler. The supporting cast are universally excellent, but all so overshadowed by Gyllenhaal that it’s hard to pick one out. The cinematography is perfect, oozing sleaze and grime in every shot, but it all comes back to the leading performance, and the writer/director behind it. This is Gilroy and Gyllenhaal’s moment. And if this should prove to be another Scorcese/de Niro style partnership, long may it continue.