FANTASIA 2023: Sympathy for the Devil
FANTASIAOn first glance, Sympathy for the Devil retreads the same limited cinematic conventions of pastures gone, and while it’s not a feature that elevates genre convention, it crafts a consistently entertaining and immersive atmosphere, propelled by two good performances from Kinneaman and Cage.
On that very first aforementioned glance, Sympathy for the Devil sets the viewer up for what essentially – much like the character contextually – is a wild ride, namely in the same vein of something akin to the narrative of Collateral. A normal man of society drives to the hospital in time for the birth of his daughter but suddenly another man (with outrageous bright blood red hair) played by Nic Cage enters with a pistol and chaos ensues. Of course, what plays out is nowhere as simple as the narrative would suggest and director Yuval Adler does quite a terrific job of not only keeping momentum, but the tension that results in this uncomfortable and uncertain relationship. It is without a doubt the talent of the two leads that drives this feature to certain points it within itself can relish. Beginning with Cage, the actor propels his operatic MO with chaotic emotive flair. A range that is outlandish, feral but never simplistic nor dull and that the feature quite surprisingly holds onto for an emotional climax which is made all the more surprising when the feature itself gears towards giving Kinnerman this moment in the sun.
All this is clearly and devishly designed by Yuval Adler, who, like the feature itself, gives the strong impression of being banal and slightly predictable – as the audience will begin to see watching this feature – evolve into something a little different. And what way to do that with the character of Cage of whom is so bombastic and outrageous, he couldn’t actually have an arc and deliver a monologue? Audiences who have seen Leaving Las Vegas and Bringing Out the Dead, but recent audiences and receptors aren’t quite aquatinted with majestic talent lurking behind the curtain. Granted, this isn’t a performance akin to the previous mentioned character pieces but nevertheless has breadcrumbs of what many feel is a time forgotten.
As good as Cage is in his twilight years as a performer. The real surprise here is arguably Kinnerman, whom throughout his career hasn’t quite found his role albeit with a tremendous amount of trying from the studio system. From his career and of course as an actor, the performer generates far greater emotive work while within more character driven pieces such as The Informer, but a better example here would easily be The Killing – which of course allocates him multiple hours to craft a portrait rather than minutes. Nevertheless, this features results solely on the emotive projecting and conviction of Kinnaman. Of which without this premise does not work. The actor has to blend a whole host of emotions and character to build the atmosphere that this film eventual requires with certain twists and turns, leading back to this feature really resting on his shoulders. These character moments are never overly subtle but nor is Sympathy for the Devil, and that’s one of its greatest strengths. Like Cage, Kinnaman, this narrative even, it uses the bravado and brazen nature of its DNA to then quite commendably give such emphasis on the smaller emotional revealing pieces.
Director Yuval Adler and cinematographer Steven Holleran are able to emphasis these moments of small intensity in the way they are depicted. Utilising a ferocious amount of close-ups and mediums to bring the audience as close to the tension without quite touching it. This is most certainly felt in moments of dialogue, notably the bulk of sequences in the car which is vital to see this on screen dynamic evolve but equally as important to visualise the tension and close quarter animosity that these two characters ooze. That very feeling of animosity is captured quite splendidly through the merits of the filmmaking quality, most notably in the set design and lighting which producers tone and another evolution of atmosphere, all the while having to play within the limited budget in which it excels.
To put it bluntly, Sympathy for the Devil is a simple, albeit engaging, atmospheric piece that never overstays its welcome. Ultimately having great freedom and fun while working within the limitations of its budget namely in lighting and production design. Yet, most importantly, in the area of character and performance of which Kinnaman and Cage excel in the confines of their talent while also showcasing the skill they have in small but integral aspects.
