Award-winning Scottish actor, writer and director Peter Mullan (Top of the Lake, My Name is Joe, Trainspotting) calls in from Auckland where he is appearing at the Big Screen Symposium, Jonathan King (Under the Mountain, Realiti) reports on Fantastic Fest plus Kailey and Dan review Locke and The Lunchbox).
I can just imagine the Monday morning when a development executive stumbled across the script of The Hangover. It wouldn’t have taken him long to realise that he’d discovered modern Hollywood’s holy grail – a perfectly realised men-behaving-badly movie, so well-written and cleverly structured that he wouldn’t need any big stars or a marquee director. By morning tea he would have been gone for the day, safe in the knowledge that his targets for the year were going be met and (no doubt inspired by the script he’d just bought) he would be dropping a big bunch of credit card on hookers and blow. Probably.
The script is perfect in its elegant and streamlined construction (screenwriter-porn, no less): Four friends head to Vegas for a bachelor party. We leave them at the first Jägermeister shot, only to rejoin them at dawn as they emerge squinting into the light. They’ve gained a baby and tiger and lost a tooth – and a buddy. The film is all about putting the pieces of the night back together and it’s clever, filthy, loose and charming. The Hangover is indeed the Citizen Kane of all getting-fucked-up-in-Vegas movies – so supremely pre-eminent that (let us hope) we never have to watch another of its kind ever again. Of course, The Hangover 2 is already in pre-production.