MovieChat Forums > Bad Lieutenant (1992) Discussion > The Final Redemption...(Spoil ers)

The Final Redemption...(Spoil ers)

posted 18 years ago by MonsterOfTheMiramichi
19 replies | jump to latest

Ok, in the climax, Keitel allows the two rapists to escape, more or less. Many people have concocted a summary of this scene, saying it is The Lieutenant dying for their sins, as he gets shot and killed a moment later, and that this is him redeeming himself. But judging from the aspect of his attitudes towards the rapists throughout the movie, would it not make more sense for him to have killed the two rapists, finally finding redemption by avenging the rape of an innocent women and vanquishing two people more evil than himself?

[–] deadcow_s 18 years ago

its too simple in that way - killing the rapists ... it will be very conquestadorish. The innocent nun suffers human's sins too. But she dosent question God why this is the way it has to be - she just follow His will in the quest for good. Keitel seeks devastation , he seeks mental suicide: drugs , alchohol , illict gamblers. He must fell to the bottom to find the RIGHT way to the top. The climax in his human collapse is the "nude dance" where he moves forward naked, groans , groping of his arms seeking nothing - not a man ... not even an animal.

very powerful movie -dont watch it superficiality

[–] zweifilms 18 years ago

obviously you missed the point of the redemption. Normally, he would have killed them both. Wrath, a sin. He mentioned to the Nun earlier, that they would slip through the system. Rather than making a joke of the system and running them through, or killing them, he chose to give them a second chance at life, similar to the forgiving (abolishing) of sins in the catholic church, is it not?

[–] citizensmith82 18 years ago

Ok-here goes. A theory. Purely academic, I have no concrete religious beliefs myself. The Lieutenant is a 'Christ-figure' (someone in a fictional text that embodies the dramatic narrative trajectory of Christ, ending ultimately in death), like Willem Defoe in 'Platoon'(1986) or Jim Cazeal in 'The Thin Red Line' (1998) etc. I argued in my doctorate thesis at uni that the naked scene with Keitel arms outstretched (like Christ on the cross) predicts his end. Although his actions are anti-christ throughout the film, Ferrara illustrates that those who followed Christ's example were,initially at least, flawed characters (Mary Magdalene, certainly Peter and Paul etc.)who reached redemption through change and sacrifice.

The Lieutenant hangs out with the lowest of the low, as did Christ, and is handed his moral dilemma when he realises that the nun won't give up the names of the rapists. In the garden of gethsemane, Christ broke down crying and prayed to God to spare him if it was at all possible. This scene is mirrored (in a sense) when the Lieutenant breaks down after the nun leaves him for the final time towards the end. Instead of crying for mercy (like Christ) the Liutenant hurls abuse at a vision of Christ (remember: I said he was a Christ-figure not Christ himself) but ends begging for forgiveness. This catharsis is mirrored when Christ ends his time in the garden accepting his fate wholeheartedly. The Garden of Gethsemene is the beginning of the end of Christ's mortal being but the formative steps towards his self-sacrifice for humanity's ultimate salvation. What is also interesting is that Christ asks God for the 'cup of suffering' to be taken away from him. (I.E the weight of his obligation). The Lieutenant is now MORALLY obligated to free the criminals and withstand the temptation of selfishness (in respects of the reward money for the rapists to help save his hide from the bookies. And the cup comes to the liutenant by an old woman who finds him bent down in church after he kisses the feet of Christ (actually hers), but was all in his druggy mind. (or was it?)

In the bible, Christ forgives the two convicts crucified either side of him when one of them repents their sins. The two rapists seem to represent these two characters (who weep with fear first but are ultimately in awe and gratefulness when the Lieutenant releases them AND gives them all his money. Thier repentence is shown in their fear and their evident shame. The Lieutentant cries frantically at the films end before being killed by the bookies. This could represent the final howl of Christ which marked the time of change and reconciliation.

The film therefore, although seen as a 'corrupting' film is (as per usual) ironically the opposite. The controversial elements are justified in context, if a little distastful. The film is, however, ultimately a humanist film because of the issues raised.

Erm, that's about it. Thoughts?

[–] tuveye 18 years ago

i do like your analogy, after just watching this film i didnt understand why he let the rapists go. Obviously missing the background religious clues.

i spose it would be to common to shoot the rapists or take them to prison, the way the director played it out like the crucifixion of christ was very creative and adds another level defently a great film for religious ppl if there ok with the drug use and the like.

[–] citizensmith82 18 years ago

Abel Ferrara's work have a fierce and dark stream of catholicism running through them. On a superficial level, the Lieutenant lets the rapists go because he cannot find it within himself to drag them into his hell. Obviously this stems from the nuns reluctance to give their names. It's a class film which deserves more attention than it receives.

[–] MonsterOfTheMiramichi 18 years ago

Totally agree with that citizensmith, it does deserve a lot more attention and appreciation. I guess I did overlook a lot of things relating to the climax, but I like everyone's analogies, it makes lots of sense.

[–] Castorian 18 years ago

Yup, possible, but personally, I'm a little bit bored about these Christ interpretations in movies, books, etc. Too easy. Ok, so the lieutenant is Christ? And the two rapists are the thiefs of the Golgotha? Well, as I said, it's possible, but what is the need to be always looking for this interpretation; and what if the lieutenant was just some kind of deeply tortured soul, looking for true redemption? (In other words, the simple way the movie presents us the character.) I don't think talking about an analogy with Christ here is useful.

[–] whoppa_jr 18 years ago

I find the Christ parallel a bit dull too, but it's hard to avoid in this film, isn't it? Christ appears in the damn thing.

[–] citizensmith82 17 years ago

And Ferrarra is obsessed with Catholicism in a very, very bleak way.

[–] Bub_the_zombie 17 years ago

He has survived on the streets for twenty years. He's a gambler... a thief... a junkie ... a killer and a cop. Now he's investigating the most shocking case of his life, and as he moves closer to the truth, his self-destructive past is closing in. Harvey Keitel gives us a truly searing performance an an out of control police detective on a collision course with disaster.

First of all, Abel Ferrara is a hit or miss director. Either the viewer is turned on by what's on screen, or they're completely turned off. I have been a fan of Ferrara's for quiet some time now - Ever since seeing Driller Killer at age ten. The name Abel always struck a chord with me. Who knows? It could have been the biblical reference.

Bad Lieutenant is a film that one can't help but think comes from the inner depths of Abel Ferrara's soul. If one didn't know better, they would think the film as a whole is probably an analogy of his personal life... his inner demons.

While not a horror film (in general), this movie depicts the hidden horrors that seemingly good people keep locked away. It's a commentary of the mask wearers of society - Weak people in a body of someone having authority. When one thinks of an authoritative figure, we automatically think of a self willed leader - Someone who has it all together inside and out. We never see beneath the uniform or the tough persona, and take for granted that these people are always going to be our sociological pillars.

We very rarely see past the badges and the colors. We can look into these people's eyes and seemingly look past all the cries for help, until they're finally let out of the bag and we're left disappointed and out of hope. "How could THIS person do THAT?"

The Lieutenant (played wonderfully by Harvey Keitel) is a despicable person. He's a crack addict, a heroine fiend, an alcoholic and a sex freak. He steals batches of cocaine from crime scenes and sells it to the local drug pushers. He's a gambler. He owes tons of money to a bookie who's described to have killed families and babies, yet he still manages to bet against his cop buddies on the MLB playoffs.

Throughout the entire film, Ferrara gives us deeper glimpses into The Lieutenant's life of drugs, lust, and depravity. It's not long before we stop despising the cop and start feeling sorry for him. He's truly no different than a homeless junkie on the street. If not for the badge, that's exactly what the Lt. would have been.

Again, I'm going to jump back to some hidden personal views that's obviously been thrown in by Abel Ferrara in regards to his own life. First off, the drug depictions were right on the money. For someone to capture the gritty NY lifestyle accompanied by the dirty essence of sexual depravity, they would have had to experience at least some of it. "Yeah, yeah. A good director would do some studying."

I'm not saying Abel Ferrara is a drug addict alcoholic hooked on women and gambling, but I'm sticking with my story. There's an overlapping of Catholicism that adds an even more disturbing outlook when we have the raping of a nun in which the Lt. is assigned to the case.

The whole scenario allows the Lt's actions to be completely overshadowed, giving the viewer a little time to actually take the Lt.'s side when he questions the nun about how she could forgive her attackers for what they had done to her. She actually knows the name of her attackers but won't give their names to the police.

The religious angle seems to stick hard with Ferrara. Throughout a number of his films the Christianity angle has been exploited - either showing disdain and then redemption, or redemption then disdain. I think Bad Lieutenant reflects on a man's weaknesses and how an overhanging of the 'forgiveness' alignment can allow one to feel remorse through all the drugs and alcohol.

There's a scene depicting a hanging Jesus - being crucified as he screams in agony. We see him as a weak vessel, but in all actuality,(in Christianity) he's the Man in charge. It's kind of a reversal of The Lt.'s life. Here he is supposed to be the strong man in charge, yet he is so weak and despicable on the inside. We have the Jesus figure being pathetically weak on the outside, yet inhumanly strong willed on the inside. The two roads eventually meet when we realize that dying on the cross was Jesus' choice, just as the illogical sex games, drug use and gambling was the Lt.'s choice.

Throughout the film, The Lt. comments on the Catholic church calling it ''a racket''. Later on when the Lt. gets in too deep with the bookie, he enters the church in one of his drunken hazes. He calls out to Jesus and He appears. The Lt. crawls to his imagined Jesus figure. The figure stretches his arm almost mechanically the closer the Lt. crawls to him on the floor. He kisses the feet of the figure only to wake up and realize that it's the the feet of an old black woman.

In this epiphany he learns the identity of the two kids who raped the nun. In a sudden turn of forgiveness, he locates the two kids, smokes crack with them, gives them $30,000 and sends them away Scott free on a bus to an unknown destination stating their lives will ''never amount to *beep* in this town''- referring to NY.

It's a look at a sudden burst of redemption and self appointed righteousness. Throughout the entire film we never know the Lt's name. All he's addressed by is simply Lieutenant. He's stripped of an interpersonal identity, living life with what his outward appearance stands for - the badge, the suits. We also never learn the identity of the bookie the Lt. owes all the money to. He goes by the name Large which is also a symbolic gesture. LARGE, which is a metaphorical deity (in terms of the Lt. being at the mercy of him in regards to the large amount of money he owes him) seems to have the Lt's life in his hands. The Lt. hasn't paid up and who knows when he'll collect?

The Lieutenant's family seem to have no identity either. This is metaphorical in that the Lt. doesn't actually know his family. He has been involved with his cop lifestyle and moonlighting as a sex fiend and junkie for so long that he does the same as a typical drug user and gambling alcoholic. His mother lives with him (his ex-wife living in another home) but never speaks throughout the entire film. This is also a representation on the upbringing the Lieutenant had growing up as a child.

The ball game that we see throughout the entire running time is also somewhat of a miracle in itself - The Mets coming back after being THREE games down against the Dodgers is representative of a mini miracle. It's also metaphorical in that it's NY against NY. It's almost a simile on how NY is a city that is at odds with itself - everyone trying to beat each other - their own neighbors and friends. This could represent the eventual lack of faith not only with the games, but the Jesus in general.

What happens next one can pretty much estimate. This is certainly a film that can't be enjoyed by the subject matter. It's not a film that's pink a fluffy and round around the edges. I think one would have to have had some external form of experience with religion and addiction - whether sexual or alcohol and drugs, it would be hard to relate to this without experiencing one or the other. Rarely, a film will make me shudder at the thought of it or absolutely set me on the same shelf with it. Bad Lieutenant does the latter. (No, I'm not a raging alcoholic or heroine junky or sex freak. It's the religion thing)

A very depressing film with tons of metaphoric actions and camera-work. Abel Ferrara pulls the art house curtains, but opens them enough to let us peek through without them getting in the way. Not since Fulci's New York Ripper has the dirt of New York rubbed off on me and managed to stay for so long. Harvey Keitel's best performance as well as Ferrara's best. Not one to miss if you're a fan of emotional cinema. Masterpiece cinema.

"Lookie! Built you a little fry house!''

[–] 17 years ago

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[–] phillycaesar 16 years ago

Excellent post. Thanks.

[–] 16 years ago

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[–] DanielH1911 15 years ago

Awesome post, philly. Your theory on what sort of people relate to this film definitely rings true with me. I have dabbled with drugs in the past (sans heroin and other harder drugs) but I am very religious (Christian not Catholic though) but it has been an on-going battle spiritually. The thing is you can replace the Lieutenant's drug and sex addiction with any other thing that requires some self-control for the benefit of yourself and you can already get where this character is coming from, he is almost Devil-like in his ways but is still a human beneath it all, Jesus is and was the complete opposite in that he was fully God and fully man.

[–] Caractacus23 15 years ago

"His mother lives with him (his ex-wife living in another home)"

I got the impression he was still married, and living with his wife. She seems to appear in one scene, where she tried to get him to have coffee with her and either his mother or mother-in-law (and another woman, which I took to be his youngish sister-in-law).

Been making IMDB board posts since the 90s, yet can't bring up any from before December of 2004.

[–] cheesematembo 14 years ago

"like Willem Defoe in 'Platoon'(1986) or Jim Cazeal in 'The Thin Red Line' (1998) etc."

I see what you did there.

[–] str8_royalty 14 years ago

Does Darryl Strawberry and Dwight Gooden have any underlying significance? They were players that were mentioned in the film that had their drug battles blasted in the media.

[–] biggusdickus-1 13 years ago

I'm neither a sports fan nor a theologian, but I interpreted Strawberry's presence (or more accurately, LT's misguided faith in him) as the film's representation of Satan — not that Strawberry himself is the dark lord, but rather that his high position in LT's worldview offers a face for the misplaced beliefs and senseless vices that pull LT down the wrong path.

In a historical context, Strawberry's notoriety for drug use wasn't yet established at the time of the movie. Sports buffs will hopefully chime in if I'm way off, but I don't recall Strawberry's string of cocaine suspensions starting until a few years later, around the mid-1990s. Watching the film now, it seems symbolically fitting that LT should idolize the player who later became synonymous with drug woes — but it also seems to be just a happy accident.

Strawberry was, however, infamous for a different set of shortcomings in the Bad Lieutenant days: selfishness, greed, vanity, and ultimately, faithlessness. He achieved wild success and hometown adoration throughout the 1980s as a young star for the NY Mets but was by most accounts a deplorable team player, regularly blowing off practices and feuding with his colleagues. And in 1990, at the peak of his abilities, he defected for more money to the LA Dodgers.

The 1991 World Series that frames Bad Lieutenant found Strawberry as the Dodgers' megasalaried star facing off against the Mets who had been his teammates just the year before. So he became a polarizing presence in the eyes of the New York fans who had loved him as their wild-child home-team power hitter for years and now found him leading the opposition with the same ferocity. And leading the Dodgers, of all teams, who had themselves relocated from Brooklyn NYC to Los Angeles recently enough for grudges to remain.

We might interpret Strawberry's presence in the film in any number of ways. Maybe LT's unwavering faith in Strawberry's abilities reflects LT's commitment to an incorrect path, or maybe his rejection of social institutions in that he sides with Strawberry the turncoat rather than the beloved home team. Or maybe he sees some aspect of himself in Strawberry's unrepentant self-absorption.

But however we look at it, if we take this movie as a study of sin and redemption, Strawberry is a figure we never actually meet yet whose constant invisible presence somehow reinforces everything bad inside the bad lieutenant.

that's my $.02
--Big Gus

[–] patpatterson 13 years ago

I liked the ending.I would have hated if Keitel had killed those 2 guys,even though they were scumbags.It showed that despite the many seedy things he did throughout the film he was a decent man who was capable of showing mercy.