Walter Hill has during his long career gained reputation of the master of American action cinema. His filmography, however, included not only genre classics, but also many disappointments and subpar films that later became relatively obscure. One of those is his 1989 action drama Johnny Handsome.
The film is based on the novel The Three Worlds of Johnny Handsome by John Godey, author best known for the novel that served as basis for classic action thriller The Taking of Pelham One Two Three. The protagonist, played by Mickey Rourke, is John Sedley, man who has been dealt a bad hand from his birth – not only he had to grow up with drug addict prostitute mother, but was also burdened with genetic disorder that had disfigured his face, earning him ironic nickname “Johnny Handsome”. As such, he turned to crime and the plot begins when he agrees to help Mikey Chalmette (played by Scott Wilson), his only friend and mentor who wants to save his New Orleans bar by getting money through heist. Plan goes wrong because Mikey has also hired bloodthirsty Rafe Garrett (played by Lance Henriksen) and his ruthless girlfriend Sunny Boyd (played by Ellen Barkin) who kill Mikey, take the money and leave Johnny to be arrested. He is sent to prison where he barely survives attempt on his life, ordered by Rafe, who now owns Mikey’s bar. Johnny is sent to hospital where he is met by Dr. Steven Fisher (played by Forest Whitaker), idealistic physician who wants to perform experimental cosmetic surgery that would test his theories about social rehabilitation. Johnny is given a new face, new identity and job at shipyard that would ultimately allow him to win parole. At the shipyard he also meets and starts romantic relationship with attractive clerk Donna McCarthy (played by Elizabeth McGovern). Everything looks good for Johnny, but he actually uses his new face as a way to set a trap for Rafe and Sunny and avenge his friend.
The most peculiar thing about Johnny Handsome is protagonist who looks like someone belonging to serious Oscar-grabbing dramas like The Elephant Man or Mask, but works within the clearly defined parameters of action genre. Hill tries very hard to keep the film short, not allowing much time for traditional exposition or character development. All the characters in the film are archetypal, including the protagonist, who belongs to the tradition of 1940s film noir and whose ultimate fate, unlike most 1980s action films, is preordained to be tragic. Mickey Rourke nevertheless took this role quite seriously, enduring work under heavy makeup and spending a lot of time and energy to develop convincing speech patterns. The rest of the cast isn’t that impressive – that includes Lance Henriksen and Ellen Barkin as one-dimensional villains, Forest Whitaker as idealist and Elizabeth McGovern who lacks chemistry with Rourke. The only supporting actor who leaves good impression is Morgan Freeman as experienced and cynical police detective who, unlike idealistic doctor, knows that Johnny would ultimately return to the life of crime. Hill as director delivers couple of interesting action scenes, but they are perhaps little bit too quick. His old associate Ry Cooder provides solid but not particularly memorable soundtrack, while cinematographer Matthew F. Leonetti insists on dark tones which, together with exotic New Orleans locations, create good “noirish” atmosphere. Unfortunately, the ending is slightly marred by too much melodrama. Johnny Handsome is watchable action film, but most genre aficionados would probably prefer something else from Walter Hill’s filmography.
RATING: 5/10 (++)
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