Welcome back readers, I promised I’d finally get this column going
again, and I fully plan to do so. With that we look at our second big
screen rendition of The Punisher with 2004’s surprisingly titled film The Punisher.
THE PUNISHER (2004)
Before I go diving into this one, I advise you take a quick look at the trailer for this film, here, just to at least get a feel for what this film was doing.
After the critical failure of the Dolph Lundgren film in the late
80s, (early 90s in America due to the film never getting an American
theatrical release) film companies shied away from the Punisher property
in order to distance themselves from any connection to the first film.
By the time making a new film would be able to set it’s own standard
public interest in the Punisher comics had subsided due to crazy and
farfetched concepts and making a film would have been in no one’s best
interest. Then in 2000, after the resurgence of The Punisher as a mature
audience comic under writer Garth Ennis (as mentioned in part one) the
film rights were once again bought, this time by Artisan Entertainment
(which was bought-out by Lions Gate Films at the time) and they set off
to make another film.
The film was the directorial debut for accomplished action film screenwriter Jonathan Hensleigh (Die Hard with a Vengeance, Kill the Irishman)
who also co-wrote the film. As with the 1989 film, this version of The
Punisher takes several liberties in deviating from the comic book source
material in it’s origins of Frank Castle, played by Thomas Jane (Hung, The Mist,)
becoming The Punisher. This time around Frank Castle is an undercover
FBI agent investigating illegal arms dealing when a sting he is a part
of leads to the accidental death of Bobby Saint, son of local club owner
and rumored organized crime boss Howard Saint (John Travolta.)After her
learns about the true identity of Castle and blames him for Bobby’s
death Howard and his wife Livia (Laura Harring)send a hit squad after
Castle at a family reunion with one mission: kill the entire family. In
broad daylight on a Jamaican beach, every member of Frank Castle’s
family is murdered in front of him in a gangland shooting. Frank is shot
and believed to be blown up, only to be rescued by a wise shaman who
nurses him back to health. Month after the death of his family Castle
sets off back to Tampa, FL. to seek justice for his family.
Besides the obvious difference in Castle’s origin compared to the
comic book, this film, like the one from 1989 makes many chances to the
personality and character of Frank Castle, however I feel they are more
fitting this time around. The Frank Castle that Tom Jane portrays is a
lot more cunning and calculated in his actions, and less of an “spray
bullets until they’re all dead” kind of character. Castle’s mission is
not one of simply killing Howard Saint, he plans to entirely destroy the
man. Castle aims to do the same he had suffered at the hands of Saint,
but even worse. Instead of simply tracking down everyone involved and
putting a bullet in them Castle crafts a devious Othello-style plan of
tricking Saint into killing his wife and his best friend for fear that
they were having an affair behind his back. All the while Castle
systematically sabotages all of Saint’s lucrative business endeavors
(legal or otherwise.) This all leads to a final confrontation in which
Castle storms the fortress, or in this case night club, to finally
murder his way through wave after wave of nameless goon until he can get
to the man himself and execute (hahaha, nice pun) the final part of his
revenge…I’m sorry I mean punishment. However there is no possible way
this story is not one of revenge. A rose by another name, and all that
jazz.
I believe since this is Castle’s first outing as a vigilante and
killer of killers it can easily explain why he would be pretending to
torture a man for information instead of simply, well, torturing a man
for information as he would in the comic. The problem was that most
people who read the comic by the time this movie had come out had been
brought into the title with Garth Ennis’s dark, violent, and
relentless style of The Punisher in which he would take no prisoners,
shoot anyone he considered to be a criminal, and pile up enough bodies
until he had more kills in one day than every Stallone and Schwarzenegger film combined. The problem was that Ennis’s books had only a small part to play in Hensleigh’s take on The Punisher. While characters like Joan, Spacker Dave, Mr. Bumpo, and The Russian all come from Ennis’s reboot book Welcome Back, Frank the majority of this film’s story is lifted from the 1994 back-to-basics story The Punisher: Year One.
A book that in the midst of all the alien and demon killing Frank was
doing in the 90s told a solid emotional story of a man taking the law
into his own hands when justice has failed him. Everything from Frank’s
constant boozing, sucicidal tendencies, and bits of silent sulking come
straight from the book. A large portion of the finale in the Saints
& Sinners club is also lifted from this comic including bits like
the champagne bombing, booby trapping the front door and the
spray-painted tac-vest. All-in-all this origin tale, even if it is not
the exact same origin as the comic books tells a well-crafted revenge
tale. Luckily this time around Frank’s military background is actually
mentioned and scenes are included that tell the audience where his
arsenal of weaponry would came from (his father’s collection as well as
the evidence lock-up from his arms deal sting.)
Now comes the problems with this film, and they honestly stem from
casting first and foremost. Though some abhor Tom Jane in this role I
feel he was actually a fairly decent Frank Castle. Though I am unsure if
a lot of his portrayal was actor choice or not. He seems to have fun in
the role in the beginning of the film when portraying his undercover
character of German arms dealer Otto Kreig, and there is true raw
emotion as he attempts to save his family in the middle of a hellish
gangland attack. However, for the rest of the film there is very little
if any change in his delivery. Whether this was Jane’s choice of
portraying Castle as entirely emotionally shut down after his family’s
death or if that’s just my justification I will not know. Now moving
onto the antagonist of Howard Saint. It is set up rather well that the
character of Howard Saint is not one that can hold his own. Saint is in
no way a legitimate threat to Castle or honestly to anyone, because
everything that is meant to be in any way frightening or threatening
about him is all the people he surrounds himself with. He never does
anything for himself, he has other people that do everything and
anything for him. Castle and Saint don’t even meet face-to-face until
the finale when Frank sets out to kill him and his crew in the
nightclub. Howard Saint never once actually poses a threat to Castle
himself, only the man who makes other people pose a threat to him. I
don’t know if this makes him an efficient crime boss, or just a poorly
constructed excuse to put John Travolta in the film.
I had honestly forgotten about Punisher: Year One until
writing this article and in going back and looking about it, I gained a
lot more respect for this film. Outside of the realm of this being a
comic adaptation, I give this film a lot of credit just in the realm of
being a well crafted and executed action film with some legitimate heart
to it. In a time when action films were all trying to be just like the
Jason Bourne series with blender editing in order to confuse the
audience into thinking something happened, or using bullet time and
wire-fu to keep riding the Matrix train, Hensleigh instead
opted to pull his inspirations from classic westerns and action films of
the 60s and 70s. The standoff between Frank and the two guards in the
lobby of the money laundering front is so obviously a nod to the final
stand off in The Good, The Bad, and The Ugly. In interviews he has said
that he and Cinematographer Conrad W. Hall (Panic Room) watched film such as the Dirty Harry series, The Godfather, The Getaway and Bonnie and Clyde for inspiration in shooting the film as well as making homages to Mad Max and Othello in the story.
So, in conclusion the 2004 reboot of The Punisher was a much
better attempt at a film than they did in 1989. A solid script,
beautiful locations, mostly good performances and nods to both classic
cinema and Punisher comic cannon.
I give this one 3 out of 4 skulls
Next time:I take a look at the sequel that became yet another reboot, and find out if the mindless brutality and camp of Garth Ennis’s Punisher can actually work on film.
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