Constantine
Directed by Francis Lawrence
2005, Warner Bros. Pictures
PT121M
Rating: ★★★★☆
Good: Cinematography, Aesthetic, Directing
Bad: Unfaithful, Problematic Elements
I have issue with the expression “guilty pleasure” as it applies to media. It implies that whatever the subject is not worth being appreciated on its own merits and that unironically taking enjoyment out of it should be a source of shame to the person consuming the content. I resent this take on things, as I feel we should be able to enjoy media without the threat of immediate judgement—as long as the work in question isn’t problematic, anyway. Constantine once fell into that wheelhouse for me, as I always felt guilty for enjoying it unironically. At first, I was ashamed of the dark, gritty themes, and then later because of how it isn’t faithful to the source material. But after re-watching it recently, I realized that I truly enjoy this movie—with all its faults—and that I shouldn’t feel guilt for doing so. I should instead fully embrace my appreciation for it.
The biggest shock for me vis-à-vis Constantine was when I was exposed to the character Constantine within DC Comics. I believe my first real exposed to the “real” Constantine was in the Injustice comics, but I could be wrong.
Regardless, as I was exposed more and more to more faithful representations of Constantine—including the CW show of the same name—began to realize that the Constantine film hadn’t really done the character justice.
Instead of a wise-cracking, British asshole and chain smoker, Keanu Reeves plays as a cynical, no-nonsense action hero, who also happens to be an asshole and a chain smoker. Don’t get me wrong—he plays this role really well. But I can see where a lot of the criticism came from around the original release of the movie. In some ways, I agree with it. Keanu’s Constantine isn’t nearly as interesting as I think Francis Lawrence was hoping, though I think I can meet him halfway since the character was well executed. I just think it would have been better if the movie had not been called Constantine, and had instead had its own identity to lean on.
And I truly believe this movie could have stood on its own two legs. Nothing in it necessarily relies established lore and mythos from the comics. Characters could have been renamed and the plot re-structured, or maybe even changed entirely since the movie was based on various, distinct Constantine stories from the comics. Because at the end of the day, what made this movie so great for me and why it stuck so long in my mind is the cinematography and its overall aesthetic, and not the story.
Originally posted by neillblomkamp
From the opening sequences through to the end of the movie, Constantine fully commits to its themes through its visuals. The demons are appropriately horrifying, hell is bleak and oppressing, and every shot is expertly crafted to convey an unnerving sense of unease. The focus is always put on making the audience empathize with the characters, to the point that action sequences pale in comparison to iconic dramatic scenes that stay rent-free in my mind to this day.
Even though it’s easy to empathize with the characters, the casting for Constantine always came off as a bit weird. I’ve already discussed how Keanu plays his role well, but he always feels too much like your typical action hero to me, more akin to his role as Neo in The Matrix than a character unique to this movie. The inclusion of Shia LeBeouf as Chas always makes me smile because…Shia LeBeouf. However, it’s clear that there was more planned for the character, and his inclusion wasn’t really necessary. And while I appreciate how the love interest trope was circumvented, it often seems like Rachel Weisz is phoning it in as Angela.
Constantine’s best characters, though, are its secondary antagonists. Peter Stormare is quite possibly the most interesting portrayal of Lucifer I’ve ever seen—made all the better by the fact that Stormare was the one to design his own costume[1]. Tilda Swinton also does a great job as Gabriel, really selling the archangel spurned by God character. Many of the dramatic scenes burned into my memory centre around these two characters.
Perhaps the only major issue with Constantine beyond its deviation from the source material is its underlying racism. People of colour are prevalent from the opening shots to the final confrontation, but are almost universally regulated to non-speaking tertiary roles, or are clear-cut stereotypes. The Latino man who finds the Spear in the introduction and Papa Midnite as a character are the starkest examples of these. The fact that most of the cast is white is problematic, and there were definitely chances to include a more diverse cast.
As I take the time to watch old favourites like this, I’m constantly amazed by the lasting impact they have had on me—even years later. More than nostalgia, my appreciation for movies I grew up with lasts because of what made them great in the first place. For Constantine, I will always love its cinematography and general aesthetic, even if parts of it haven’t aged well. I’d go so far as to say that the way Lawrence directed this movie stands as one of my major inspirations for my own creative endeavours. I may prefer the “authentic” Constantine comics character over the one present in this film, but the movie Constantine will always hold a special place in my heart.