Is Frank dead?

"Milo would'nt bee to happy talking about Frank if he really got a way."

I'm not sure about that.... Frank WAS his best friend in Denmark, and the only reason we know that Milo and adovan were going to kill Frank at the end of the first Pusher is that we saw Frank's "imagining" of what they were doing waiting for him. Most of the way through Pusher we hear about other people who owed much less than Frank who were treated in a worse way (the Turk who Radovan kneecapped, for example). In Pusher III, Milo manages to have a good chat with Kurt, even though they didn't leave on the best of terms in Pusher II.

I think that if Frank got away, then Milo didn't have to kill his 'best friend', and at the end of the day, Milo is a business man.


"Now he's gawn and twisted them bars as if they was cheese!!"

What sets this trilogy so far ahead of American crime films is the John Cassavetes-like realism. At the end of I we don't know what becomes of Frank. After II we don't know what becomes of Tonny. And after III we don't know what's become of Milo. When Milo cons the C=nt into accepting the heroin instead of the blow he'd contracted, he mentions, "Have you seen Frank?", so at least we know Frankie's skated his execution and gutting by Radovan, thus far. But the way American movies tie their closures with definitive bows like a gift, these incredibly original movies are much more true to life. Those who have difficulty appreciating the pace, the lack of denouements, and the lack in decisive endings, they remind me of the French public that took so long to appreciate the originality of Van Gogh, simply because of their unfamiliarity with the new language he'd created. Like in real life, there are no neat composites in these stories. In real life, we're always left in a morass of unresolved circumstances, and that's why these innovative vignettess that never resolve themselves are so intriguing. In my opinion, all 3 of these movies are better than any of slickly produced Scorcese gangster films since Scorcese, being such a student of historical cinema is much less innovative than what we have here, although they're much more commercially acceptible and acceptable to the mass public. Indeed, even Coppolla's first 2 Godfather movies, possibly the greatest movies ever made, don't come close to reality the way these innovative Pusher movies do. Even though the Soprano series is eminently watchable for its serial character, they don't hold a candle to the ultra-realism groundbreaking character of this incredible series of nouvelle-verité vignettes. And although immature viewers are wowed by macho thug cruelty ever since the days of Cagney, these movies don't rely on such silly characterizations. I despise idol-worshipping sycophants that genuflect whenever the name of their obsession-based movie stars or directors are mentioned, and will spew mean-spirited objections to anyone who has the temerity to take issue with their prejudices.

Frank isn't dead, Nicolas Winding Refn didn't bring Kim Bodnia back on board for Pusher II and III because he had a falling out with him after the release of Bleeder over a money dispute.

its a question of interpretation, i'd say Frank was killed and they dont talk about it anymore. .

Frannk went to Norway then the Netherlands, he hooked up with some people in New York, and was pushing high grade pot from the Netherlands to NYC in hollowed out books. It's all there if you read between the lines man.

I got the impression that it was a veiled reference to Frank's murder. Milo doesn't appear very concerned when asking Tonny and even grins in a self satisfied manner.

"Hey, look at that! She's not crazy, she's being chased by a cheetah!"

I believe Frank is dead. At the end of the movie, Milo has called Frank and asked him to meet and arrange the debt. Then it shows Milo and his assistant covering the floor with plastic sheets. If you see Pusher III you will understand what the plastic sheets are used for.