Recently, I revisited The Crow in theater, re-released to celebrate its 30th anniversary this year. While a favorite film of mine, it has been quite some time since I saw the film in a theatrical setting, so I was curious how it would hold up. Not only did it hold up, but I was reminded of just how well this film was put together, a call back to a time when movies did not need to be bloated and complicated to tell a story the audience enjoyed and, at the same time, fueled with action and visual joys along the way.
The Crow is a simple love/revenge story that quickly morphs into a supernatural, fast-paced action film. Eric Draven (the late Brandon Lee) and Shelly Webster (Sofia Shinas) are a couple in love, killed by thugs just before their wedding day. One year later, with no arrests being made, Draven rises from the grave and, guided by a crow, sets out on a quest to kill the four men responsible for both his and Shelly’s death. While there are flashbacks to explain this, the background of both characters is never fleshed out and, honestly, not really needed, as we jump right into the night and Draven’s hunt for vengeance and revenge.
We follow along with Draven on Devil’s Night as the city descends into chaos as the criminal element runs rampant through the streets, looting, stealing, killing, and setting the city ablaze. Visually, it’s a dark, foreboding, gritty look that is almost like another character in the film. Cinematographer Dariusz Wolski does an excellent job of not only the overall visuals but also allowing the audience to glide around the city, seeing the chaos from a different point of view, through the eyes of the crow. It leaves you feeling the sense of futility and desperation the normal everyday citizens must be feeling, and the police officers as well, particularly Sgt. Albrecht (Ernie Hudson), who was there when the couple died, is still trying to do the right thing, even if a dead Eric Draven walking around is hard for his brain to handle.
The characters are dark, drab, and without any real color as the city, Draven’s pale face stands out, an avenging angel to those who cross his path. It is always sad watching Brandon Lee as Draven, knowing he died on this set and the loss of someone so young with obvious potential. While the plot is straightforward enough, Draven is a bit more complex than that. Driven for revenge, he’s still not without feelings and can recognize the good in others, even when most around him are anything but that. Lee makes you want to cheer for his character and, at times, reach out and hug him as well.
RELATED: ‘Demons’ (1985) 4K Blu-Ray Review: A Stunning Transfer for This Blood-Spattered Ride
Director Alex Proyas keeps things moving along at a sometimes frantic pace, clocking in at just over 100 minutes, but spends enough time with characters to allow the audience to either loathe or love them. The man in charge is Top Dollar, and actor Michael Wincott makes him memorable with his brooding darkness and hilarious one-liners. Proyas captures these moments with skill, giving us different angles to enjoy while not overstaying his time. The mood is so important, and it lends itself to the themes of revenge, love, and death very well.
With a grunge-fueled soundtrack and dirty, gritty look, The Crow embraces the gothic feel of the film and unleashes it on the audience in all its glory, never apologizing for what it is, making it that much more believable. The constant rain only adds to the ridiculously dark and moody atmosphere that is embraced by all characters. There are no hidden agendas or red herrings. Everyone moves the story forward like a runaway train, making the odd stop along the way to chat with the passengers and find out who exactly is on board.
It was very satisfying watching this film in theaters again, with audience members cheering and laughing along, everyone there for the same reason. Now 30 years old, The Crow is a testament to a time when films were driven with a purpose, led by a director, cast, and crew who knew their parts and played them well. While darkness and despair are the key points of the film, there are moments of hope, happiness, and trust that make you believe good can prevail. As Eric himself said, “It can’t rain all the time.”
