Profissão de Risco

The effects of lacking the fortitude and conscience to make the right choices in life are examined in `Blow,' directed by Ted Demme and starring Johnny Depp as George Jung, a young New Englander who decides early on that living week to week and barely being able to make ends meet is not the kind of life he wants. George grew up in the ‘50s, in a decent, middle-class family, but was deeply affected by the fact that his father, Fred (Ray Liotta), worked his fingers to the bone as a plumber, sometimes fourteen hours a day, seven days a week, and it was never enough, especially for his mother, Ermine (Rachel Griffiths), who complained endlessly about not having enough money. More than once she abandoned her family, only to be taken back every time upon her return by Fred, who adored her. Then, in the late ‘60s, George, along with his childhood friend, Tuna (Ethan Suplee), moved to Southern California and quickly discovered the freedom of the beaches and a lifestyle conducive to his idea of paradise. That `paradise' being anchored in the realization of the big, easy money to be made at the time selling marijuana; and for George, it was only the beginning, the on-ramp to the freeway that would ultimately take him to the top of his `profession,' and which was destined to define his life.

It's a tale as old as time, the lesson of which is destined forever-- unfortunately-- to be ignored by those who seek the quick and easy road to wealth and happiness. Courage, it has been said, has many faces; one kind earns soldiers and citizens medals for rising above imminent danger. Another can be defined as being able to decline the carrot of ill-gotten gains when it is dangled before you. George lacked that kind of courage, and instead grabbed the promise it proffered with both hands, only to discover-- too late-- that it was empty indeed, and laced with unhappiness. It's a classic rags-to-riches-to-oblivion story, with a moral that will be embraced by those with the wisdom to build their house of brick instead of sticks and straw.

As George, Depp turns in a convincing, believable performance, portraying him as a misguided, rather than `bad' person. You sense that George's naivete enabled him to take chances and enter an arena to which common sense would otherwise have dictated avoidance, and because of that you are able to sympathize somewhat with him. Depp lends an innocence to the character in which you can find the kid next door, the good kid you grew up with and knew throughout your school years, and in retrospect, it would seem that George, a reasonably intelligent young man, simply made some very stupid decisions. And, as they say, the prisons are full of those just like him. But the most telling indication of who George really is and what he could/should have been, comes through his relationship with his father. And it is that which becomes the very core of the story.

As Fred Jung, Ray Liotta gives a poignant performance, presenting a very real person in a very real setting. completely avoiding any kind of stereotype into which this character could easily have fallen, Liotta plays him with a depth that averts sentimentality and makes the unconditional love he shows for his son entirely believable. It's a direct and understated performance that so clearly defines the true character of the man, and it is in the scenes between Liotta and Depp that the true nature of George is revealed as well, in which you begin to understand that he was just an ordinary guy who got caught up in extraordinary circumstances of his own design.

The supporting cast includes Penelope Cruz (Mirtha), Franka Potente (Barbara), Paul Reubens (Derek Foreal), Jordi Molla (Diego), Cliff Curtis (Escobar) and Max Perlich (Dulli). A cautionary tale for those who allow themselves to stray from the straight and narrow, the real impact of `Blow' is ultimately contained in the final frame of the film. It is a still picture of the real George Jung; and to fully realize what his life has been about, you need look no further than into the eyes of the man in that photograph. I rate this one 8/10.

Based on a true story of how the American cocaine market was founded, this is a lot more funky than I had expected. A thumpingly good soundtrack right from the start and Johnny Depp cruising in to be a convincingly laid-back big-shot - almost like a graduate from Boogie Nights. Penelope Cruz manages to be blisteringly erotic in a few well-crafted scenes and without removing a stitch of clothing. Later, instead of following the usual pattern of despair in the second half where most drug movies home in on drug dependency, Blow refreshingly focuses on the emotional losses suffered by the characters. A film that just about manages to be more than the sum of its parts, it would have made a nice sort of pre-quel to Traffic, but it stands alone in fine form. And it's moving rather than depressing.

I don't understand why many people I talked to either thought the film was bad or mediocre. Sure, it isn't a "great" movie, but when was the last time you saw 5 great movies in a row? A great movie comes along once in a blue moon, depending on your definition of great. I personally was very engaged in the plot. Johnny Depp gives a tour-de-force performance, fully engaging himself in the character. I'm sure he did lots of research on George Jung and tried to mimick his every mannerism, because this was far from a half-baked effort. Then again, I don't ever recall Johnny Depp doing a movie where he didn't put his full enthusiasm into the role. The movie has many tragic moments and many funny moments. The film is a little over 2 hours long, but the time flew by in a breeze. I was so enlightened that I'm anxious to do some research on the real George Jung. I'm not a fan of Penelope Cruz, and they could've chosen a much better actress, but she's only in the film about 20 or 30 minutes, so she isn't given enough time to ruin the film. Paul Reubens gives a surprisingly earnest performance as a flamboyant, bisexual hairdresser. It's too bad he's caught up in all this controversy, because he seems to have sufficient range as an actor. I loved hearing all the great classic rock songs in the soundtrack, and every time I watch the film the songs get stuck in my head and I start singing them for days on end.

"Blow" is a touching drama that doesn't try to exploit the world of drugs, nor condemn it. After seeing George's tragic outcomes as a world-class coke dealer, I doubt anyone would want to get in or get back into the "business," but that doesn't necessarily mean the message is preachy.

My score: 8 (out of 10)

There's something relentlessly self-serving about the (auto)biographies of criminals. There are too many plays for sympathy; a certain neatness in the way events always seem to absolve the criminal of blame; a sense of something being laid on a little too thick. So it is with 'Blow'.

George Jung, as played by Johnny Depp, is a perpetual ingenue. His character is a catalogue of good looks and sweet gestures, and he has a downright saintliness in his dealings with others that's so slick and saccharine that one can see the con coming from miles away. George is kind to his friends, generous to his business partners, oddly enough always the victim and never the perpetrator of double crossings, and by God, he loves his daughter. I was disappointed that there were no scenes of Johnny Depp administering aid to wounded animals, but it's possible that these were cut to allow the film to run its current six hours in length.

While there's a certain low humour in watching film-makers unknowingly playing the role of patsies, the warped and jagged caricatures Jung's narrative makes of the other people in his story (the better to portray him as Christ) soon nip any fun in the bud. George's mother (Rachel Griffiths, utterly wasted) is a cold, insatiate bitch; his wife (Penelope Cruz, hysterical) is a coke-mad, tantrum throwing ingrate, and his West Coast distributor (Paul Reubens, the less said the better) is a limp wristed fairy (largely, I suspect, so as not to threaten George's position as the film's only sympathetic, attractive, non-ethnic heterosexual male). It's notable that the only female close to Jung who gets anything like a good rap is his flower-child stewardess fiancee Barbara, who rather conveniently drops dead before her relations with him have a chance to sour.

While it's not exactly unentertaining - the film's early-mid section works well as an evocation of sunlit good times - 'Blow's' inherent manipulativeness is never far beneath the surface. Once things go bad for Jung, the film starts to sag in sympathy (literally) with him, and becomes instead a chronicle of Bad and Unjust Things Suffered with Commendable Stoicism by George Jung. My advice would be to have already left the theatre by this point. The ending is painfully overblown and drawn out, and we are forced to endure one of the more 'off' moments in recent cinema as the film primly castigates Jung's daughter for not visiting her father in jail. I'm sure she has her reasons.

Not a bad movie, above average, but nothing extraordinary, nothing that could even remotely be compared with for example, Scarface.

In my opinion the main 'problem' with this motion picture is that Depp is never really believable as a hardened drug dealer, there is no way that the real George Jung was ever even remotely like that. The proof of this is in the last frame of the movie where we see the real George's face staring at us from the screen. At that precise moment we know: the real George Jung was very, very different, his face tells us that.

On the other hand, Paul Reubens is excellent as Derek Foreal and the very good soundtrack is also worthy of mention. All in all, a good movie definitely worth watching, but also a movie that could have been much much better.