Bringing Out The Dead (1999)
Directed by: Martin Scorsese
Written by: Joe Connelly, Paul Schrader
Starring: John Goodman, Marc Anthony, Mary Beth Hurt, Nicolas Cage, Patricia Arquette, Tom Sizemore, Ving Rhames
Bringing out the dead (1999)
Directed by Martin Scorsese
Frank is a paramedic, serving the run-down area of Manhattan. He has not been himself in the last months after the death of a young woman from an asthma attack. Feeling as if she might have saved her, she is obsessed with her ghost while she performs her nocturnal task while he and her paramedical companion guide through the city, casting their gaze on lost and defenseless souls. What makes matters worse is that since that night, he has not been able to save any of the patients he has participated in. Driven by nightmares, Frank is on the edge of his sanity, but no matter how hard it is to find life, his skills are necessary and perhaps, perhaps, he might be able to save someone.
The black comedy by Martin Scorsese BRINGING OUT THE DEAD It's probably one of his lesser-known films, but it's worth seeing as we follow Nicolas Cage's burned paramedic, Frank Pierce, for three nights trying to save people's lives in Manhattan. I will take off my hat to whoever works in health care because it is such a demanding job and it is a service we rely on a lot and that we are lucky to have. In this film, we have an idea of u200b u200bwhat would be life in the streets of Manhattan in the 90s for ambulance crews and even if there are obvious comic elements to this film, I can imagine a lot of what it is said is true. An adaptation of Joe Connelly's book, the same EMS, the film explores the ups and downs of work and the emotions that come with being a paramedic. Not only that, we can also see how family members face their loved ones in the hospital and the roller coaster of emotions that come with it.
Nicolas Cage is at the top of the form while Frank Pierce, a paramedic who tries to fire never ends up being able to escape the pain and guilt that he feels for the loss of his patients. Cage tells a lot of scenes as we enter his thought process, how saving lives is the best feeling in the world, but how the losses, especially several months of backward deaths, are the worst. Turning around to drink to try and get rid of the nightmares he feels while awake, Frank is getting closer and closer to the limit of sanity. Employing him in his night shifts are his paramedics who make up the crew of two men on his shifts. The first night, we meet Larry, played by John Goodman, who has a good appetite and wants to deal with good things, rather than continuing to bring in the stinking patient who is a recidivist to fall when he is drunk. On the second night, Frank works with Marcus of Ving Rhames, a religious type who speaks smoothly and loves to flirt with the female operator and sees his work as doing the Lord's work. His faith produces one of the most entertaining scenes of the film in which Frank and Marcus frequent a young goth surnamed I B. Bangin, who suffered an overdose at a nightclub. Frank's thin injection of narcan as Marcus calls Mr Bangin's friends to hold hands and pray as Marcus preaches that the good work of the Lord will be more than a chuckle. Finally, on the third night, Frank joins forces with Tom Wolls, the violent paramedic of Tom Sizemore, who likes to beat his own pains against people he thinks are scumbugs, particularly when the night's work is slow.
While we have the impression that Frank and his crew are bringing patients to many hospitals in the area, what they seem to be frequent in the film is Mercy Hospital. Dubbed Misery, the hospital is overcrowded and overloaded with doctors who work in double shift to help their patients. A policeman works in the waiting area to keep out the mob and one of the nurses makes sarcastic ambulatory interviews with those who are treated by the hospital. It is here that Frank brings a victim of a heart attack that manages to revive. His daughter, Mary (Patricia Arquette), attends the hospital hoping she wakes up, but Frank suspects that her heart has stopped beating too long to have an appearance of the man who knew how to be the return to the his family. Drawn from her father, Mary clings to the hope that she will recover enough to mend their relationship, but each passing day, it seems more and more like her father's survival was simply put together to appease her family's emotions, without any real possibility of ever returning. It seems that Frank is able to confide in Mary because she shares the details of her troubled life. His friendship in bloom with Mary seems to be the only thing that distracts him from the horrors he relives every time he struggles to deal with the pain of work.
Gritty, witty and obscurely realistic, BRINGING OUT THE DEAD it's like a window in a world of one of the most stressful jobs. Wonderfully filmed, it looks like a mixture of drama and frontline journalism, which certainly helps to portray the narrative of Connelly's work. The light and the sounds of the night shift really affect Frank's emotional instability hanging by a thread. Every turn seems like a drug-induced experience, but will Frank ever feel that extreme push to save a life?