MAIN » ARTICLESFilm Journalism: Johnny Depp in Fear and Loathing
‘Fear and Loathing in Las Vegas’ was alternative director Terry Gilliam’s last film back in 1998, giving Johnny Depp another career-defining role whilst almost becoming writer Hunter Thompson along the way.
Fear and Loathing is a psychedelic, crazed, satirical adaptation of writer Hunter S. Thompson’s drug-fuelled bestseller of the same name. Whilst re-defining both the American dream and the search for it at the same time, the book also firmly placed the phrase ‘Gonzo Journalism’ into American pop culture forever, blurring all the lines in between as it went. Since it’s publication in 1998, writers brave enough to deal with the Thompson material came from all directions, but few could handle the task. It would eventually be visionary filmmaker and quirky ex-python Terry Gilliam who would step into the job as Director (AND writer), as first choice Alex Cox (Sid and Nancy, Repo Man) dropped out due to the usual “creative differences”. From the start it was clear that this was no ordinary ‘formulaic’ drug film, and with Johnny Depp already established as Thompson’s alter ego Raoul Duke the opportunity for something truly revolutionary and utterly indefinable was clear. Depp is no stranger to the weird and wonderful though, having a fruitful relationship with the outlandish Tim Burton has given him starring roles in cult films such as Ed Wood, 1994 and Edward Scissorhands, 1990.
In basic terms, this is a wild ‘trip’ to Las Vegas with anti-hero Duke accompanied by his frenzied and constantly erratic Samoan attorney Dr. Gonzo (Benecio Del Toro). Brining a suitcase full of narcotics along for the ride. Originally sent to cover a cross-desert motorcycle race, the narrative quickly descends into madness as narrator Duke quips; “It was no longer a race, now it was an endurance contest. The idea of trying to cover this race in any conventional press sense was absurd”. During the trip, the two gatecrash casinos; devastate hotel rooms and wreck convertibles, constantly out of touch with reality and seemingly out of touch of any rational line of thought they might be having.
The situation becomes more and more out of control, and just as Duke has nearly escaped, a phonecall from his attorney leads him back to the city and a different hotel. More trouble waits in the form of Lucy (Christina Ricci) and the National District Attorney’s conference on drug problems in America. A weekend searching for the American dream turns into a horrible paranoid nightmare trying to escape from the fear and loathing and (perhaps) back to reality.
Thompson sees the trip as a eulogy to the 60’s, a generation defined by violence and the acid-culture that swept America for nearly a decade with numerous references to his past. Getting the right screenplay and director for his work was the main stumbling block as numerous uninspired efforts fell into his hands. Gilliam, who had only made two non-python films in the previous decade (The Fisher King, Twelve Monkeys) turned out to be the best man for the job, especially being a big fan of the source material:“ The book is excellent. When it arrived, we seemed to be on the same wavelength, in the sense of frustration, madness and disappointment in America at that time.” Being made in the 90’s, a new generation of film-watchers would be given an insight into a time before their own, and a time that Gilliam and Thompson wanted to create as an artefact, a lasting memory.
The accessibility of the film to a young audience would fall heavily on the reliable shoulders of its lead actor. Those unfamiliar with the source material may find it more difficult to follow the film’s sharp dialogue and cultural references, but it is Depp, who shines throughout, rescuing the film from becoming a repetitive ‘in joke’ that nobody would ever understand. Going far beyond the usual call of duty for an actor, Depp went to live with “the good doctor’ Hunter Thompson in the months leading up to filming, in an attempt to get to know the man and pick up the character traits that would later be transferred onto the screen. Initially sending, through written correspondence, criticism of Depp’s early work as Duke, Thompson was his typical enigmatic and elusive self in appreciating the work done. But with a shaved head and a new persona copied down to a tee, there would be no dissuading the newly titled ‘Colonel’ Depp from following the whole thing through. Although more intense than his previous dedication to the job, this isn’t the first, nor the last time Depp would play a striking personality other than his own.
Six years into his career, an already 27-year-old Depp gained recognition playing the title character in Edward Scissorhands, a cult film that helped director Tim Burton’s profile rise dramatically. Later on he would play ‘the worst director in the world’ Ed Wood, giving a strong and hilarious performance, again in the film’s title role. His performances since Fear and Loathing was released include Constable Ichabod Crane in Burton’s Sleepy Hollow, a drug baron in the Goodfellas-like Blow and an Inspector in period-horror From Hell. Pirate Captain Jack Sparrow in Pirates of the Caribbean is the latest of his intriguing and highly diverse roles dripping with his own personal touch, highlighting constantly the versatility of one of Hollywood’s hottest properties.
Depp’s commitment to doing justice to Thompson in Fear and Loathing is the kind so often seen amongst some of the world’s most renowned method actors; De Niro and Hoffman especially. But whilst the former have both won academy awards for best actor in a leading role (Hoffman; Kramer vs. Kramer, Rain Man. De Niro; Taxi Driver, Raging Bull.), Depp is yet to reach the same level of recognition. His profile however, is continually rising, highlighted with his recent academy award nomination for his most mainstream performance to date in Pirates of the Caribbean. Whether this is an indication that Depp will have to adjust the type of films he does away from his independent/cult background, is yet to be seen.
Written by Jay
(c)2004 Justin King
Fear and Loathing is a psychedelic, crazed, satirical adaptation of writer Hunter S. Thompson’s drug-fuelled bestseller of the same name. Whilst re-defining both the American dream and the search for it at the same time, the book also firmly placed the phrase ‘Gonzo Journalism’ into American pop culture forever, blurring all the lines in between as it went. Since it’s publication in 1998, writers brave enough to deal with the Thompson material came from all directions, but few could handle the task. It would eventually be visionary filmmaker and quirky ex-python Terry Gilliam who would step into the job as Director (AND writer), as first choice Alex Cox (Sid and Nancy, Repo Man) dropped out due to the usual “creative differences”. From the start it was clear that this was no ordinary ‘formulaic’ drug film, and with Johnny Depp already established as Thompson’s alter ego Raoul Duke the opportunity for something truly revolutionary and utterly indefinable was clear. Depp is no stranger to the weird and wonderful though, having a fruitful relationship with the outlandish Tim Burton has given him starring roles in cult films such as Ed Wood, 1994 and Edward Scissorhands, 1990.
In basic terms, this is a wild ‘trip’ to Las Vegas with anti-hero Duke accompanied by his frenzied and constantly erratic Samoan attorney Dr. Gonzo (Benecio Del Toro). Brining a suitcase full of narcotics along for the ride. Originally sent to cover a cross-desert motorcycle race, the narrative quickly descends into madness as narrator Duke quips; “It was no longer a race, now it was an endurance contest. The idea of trying to cover this race in any conventional press sense was absurd”. During the trip, the two gatecrash casinos; devastate hotel rooms and wreck convertibles, constantly out of touch with reality and seemingly out of touch of any rational line of thought they might be having.
The situation becomes more and more out of control, and just as Duke has nearly escaped, a phonecall from his attorney leads him back to the city and a different hotel. More trouble waits in the form of Lucy (Christina Ricci) and the National District Attorney’s conference on drug problems in America. A weekend searching for the American dream turns into a horrible paranoid nightmare trying to escape from the fear and loathing and (perhaps) back to reality.
Thompson sees the trip as a eulogy to the 60’s, a generation defined by violence and the acid-culture that swept America for nearly a decade with numerous references to his past. Getting the right screenplay and director for his work was the main stumbling block as numerous uninspired efforts fell into his hands. Gilliam, who had only made two non-python films in the previous decade (The Fisher King, Twelve Monkeys) turned out to be the best man for the job, especially being a big fan of the source material:“ The book is excellent. When it arrived, we seemed to be on the same wavelength, in the sense of frustration, madness and disappointment in America at that time.” Being made in the 90’s, a new generation of film-watchers would be given an insight into a time before their own, and a time that Gilliam and Thompson wanted to create as an artefact, a lasting memory.
The accessibility of the film to a young audience would fall heavily on the reliable shoulders of its lead actor. Those unfamiliar with the source material may find it more difficult to follow the film’s sharp dialogue and cultural references, but it is Depp, who shines throughout, rescuing the film from becoming a repetitive ‘in joke’ that nobody would ever understand. Going far beyond the usual call of duty for an actor, Depp went to live with “the good doctor’ Hunter Thompson in the months leading up to filming, in an attempt to get to know the man and pick up the character traits that would later be transferred onto the screen. Initially sending, through written correspondence, criticism of Depp’s early work as Duke, Thompson was his typical enigmatic and elusive self in appreciating the work done. But with a shaved head and a new persona copied down to a tee, there would be no dissuading the newly titled ‘Colonel’ Depp from following the whole thing through. Although more intense than his previous dedication to the job, this isn’t the first, nor the last time Depp would play a striking personality other than his own.
Six years into his career, an already 27-year-old Depp gained recognition playing the title character in Edward Scissorhands, a cult film that helped director Tim Burton’s profile rise dramatically. Later on he would play ‘the worst director in the world’ Ed Wood, giving a strong and hilarious performance, again in the film’s title role. His performances since Fear and Loathing was released include Constable Ichabod Crane in Burton’s Sleepy Hollow, a drug baron in the Goodfellas-like Blow and an Inspector in period-horror From Hell. Pirate Captain Jack Sparrow in Pirates of the Caribbean is the latest of his intriguing and highly diverse roles dripping with his own personal touch, highlighting constantly the versatility of one of Hollywood’s hottest properties.
Depp’s commitment to doing justice to Thompson in Fear and Loathing is the kind so often seen amongst some of the world’s most renowned method actors; De Niro and Hoffman especially. But whilst the former have both won academy awards for best actor in a leading role (Hoffman; Kramer vs. Kramer, Rain Man. De Niro; Taxi Driver, Raging Bull.), Depp is yet to reach the same level of recognition. His profile however, is continually rising, highlighted with his recent academy award nomination for his most mainstream performance to date in Pirates of the Caribbean. Whether this is an indication that Depp will have to adjust the type of films he does away from his independent/cult background, is yet to be seen.
Written by Jay
(c)2004 Justin King