The Crow

• Directed by Alex Proyas
• May 10, 1994 (Santa Monica) / May 13, 1994 (US)
• Based on the 1989 limited series The Crow by James O’Barr

A murdered rock musician returns from the dead to seek vengeance on the men who killed him and his fiancée.

Every now and then a movie comes along that is different in style and tone and overall presentation that it becomes a Cult Classic if not a general film classic. The Crow is one such movie. This movie has a look and feel unlike anything that came before or since. It shows the untapped potential in presentation the now very popular genre of the comic book inspired movie has. It is dark and brooding and dreamlike with much of it bordering on surreal which is a difficult thing to accomplish on film. There is no mistaking this movie for anything else.

Eric Draven/The Crow (Brandon Lee) because of his great pain has returned from the dead seeking revenge not only for his death but that of his bride-to-be Shelly Webster (Sofia Shinas) on Devil’s Night in Detroit. Basically he is an intelligent zombie on a mission.

Brandon Lee’s final performance is certainly iconic. In execution the Crow is like nothing that had ever been seen before. A wounded hero who is dangerous and threatening. Crazy yet sympathetic. A central character unlike anything else at least in the comic book genre then or now. Barring the tragic events that happened on the set this should’ve solidified Lee’s place in Hollywood APART from his father. He is absolutely magnetic in the role.

Aside from Ernie Hudson as police Sergeant Daryl Albrecht, the cast is filled with actors that you have most certainly seen even if you do not know them by name. Michael Wincott as Detroit crime boss Top Dollar, Bai Ling as Myca, David Patrick Kelly of The Warriors as T-Bird, Tony “Candyman” Todd as Grange, Jon Polito as underworld pawnbroker Gideon, and Marco Rodríguez as Detective Torres. A strong cast of character actors to bring this very unusual world to life.

Michael Wincott is an underappreciated actor. He is always intriguing. Not only does his unusual voice give him a performance enhancing edge, but he puts character first in a way that lends authenticity to all he does. His Top Dollar is charismatic and intelligent and just downright evil with a heavy dose of sick. And like with every good villain you kind of want him to win. Not so much so that you hope the hero loses, but to the point you would be almost okay if they figured out a victory.

These are not the finest of the finest people. This is the seedy underbelly of the world not even hinted at in something like a Batman film. And it’s very seedy. Pimps and hookers and drug dealers. Cocaine and who knows what else. Things not normally found in comic book films. There’s also child neglect in the form of Sarah Mohr (Rochelle Davis) who is basically raising herself while her mother Darla (Anna Levine) turns tricks for drugs or to just generally parties. Darla gets a scared straight moment after from Eric after he dispatches vengeance on her lover. The implication being from an awkward breakfast is that she and her daughter are beginning to fix their relationship. Yet it also provides my favorite line in the film delivered by Eric to Darla. “Mother is the name for God on the lips and hearts of all children. Do you understand? Morphine is bad for you. Your daughter is out there on the streets waiting for you.”

Hudson’s Albrecht provides some plot expediting and a little muscle in the climax as well as the normal guy perspective on the events of the story. Originally Michael Berryman (you know that face if you’ve seen it) was to play Eric’s spirit guide called the Skull Cowboy but his scenes were cut. I think those would have provided a nice contrast to Albrecht. A missed opportunity to add complexity if done right.

Proyas took proceeded with care. There’s no rushing through scenes. The dialogue and actors in general take their time. It’s not slow, but it’s more natural. More conversational. The director gives the audience time to take things in while engaging in world building and narrative building. There is care given to each shot and scene not often found in films.

In general I’m not against songs in movies. But care is needed. Does it work as an aspect of the total film? Not necessarily here. Eric Draven may have been a rock musician, but we never saw his group perform so the music we get in this movie feels almost incidental or forced in. The Crow should’ve had a complete completely instrumental score. But a minor issue in a great film. 

There is a heavy use of miniatures. This is something I noticed even when I saw it in theaters 30 years ago. Much like with Batman it helps to give it that comic book or just off kilter feel. It aids in the creation of the overall vibe. With a great script and visual style, the crow will hold you from start to finish. It is unlike just about any other superhero movie to ever be made.

The Crow shows that the superhero genre has a great deal of potential and flexibility. This is a story of pain and revenge and loss presented like no other. If you haven’t seen it, I need to ask why not?