Not that the “plot” really matters, either (although Herzog’s post-Katrina milieu is quite atmospheric). The “plot” ostensibly concerns itself with the murder of a Senegalese family, and the police investigation. Not that this is necessarily a bad thing-it’s what makes his work so continually interesting to me.

Anyone who has followed Herzog’s career probably has figured out by now that he is perfectly content to wallow in his own peculiar universe.

McDonagh transitioned from NYC to New Orleans. Terence McDonagh to that section of his resume.Īs far as I could glean, there is no effort to bridge with Ferrara’s film and explain how Lt. Personally, I get a real kick out of his performances in the latter mode, and it goes without saying that you can now add the role of “bad” Lt. His other character is the Manic, Wild-eyed Loon ( Wild at Heart, Vampire’s Kiss, Kiss of Death, Face/Off). First, there is the Slack-Jawed, Dead-eyed Mumbler ( Peggy Sue Got Married, Moonstruck, Red Rock West, Leaving Las Vegas). To my observation, Cage has demonstrated two basic personas in his repertoire over the years. Not an easy act to follow-but Nicholas Cage proves to be more than up to the task here. In that film, Harvey Keitel gave a completely fearless and thoroughly maniacal performance as a “cop on the edge” who made most of the criminals he was paid to apprehend look like choir boys. Herzog’s latest film, arguably adorned with the year’s most unwieldy title for squeezing onto a marquee, is a (sort of) sequel to Abel Ferrara’s highly controversial 1992 neo-noir about a drug and gambling-addicted NYC homicide investigator. Who could have guessed that the man who helmed art house classics like Fitzcarraldo, Woyzeck and Aguirre the Wrath of God would one day make a film entitled Bad Lieutenant: Port of Call-New Orleans? Then again, one might argue that the iconoclastic Werner Herzog’s career would be nothing, if not perennially unpredictable. ( Originally posted on Digby’s Hullabaloo on December 19, 2009)

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