Leaving Las Vegas (1995)

User Rating:

7.6/10   

Director:

Mike Figgis

Writers:

John O'Brien (novel)
Mike Figgis (screenplay)

Release Date:

27 October 1995 (USA)

Genre:

Drama | Romance

Plot:

Ben Sanderson, an alcoholic Hollywood screenwriter who lost everything because of his drinking, arrives in Las Vegas to drink himself to death. There, he meets and forms an uneasy friendship and non-interference pact with prostitute Sera.

Plot Keywords:

City Name In Title | Las Vegas Strip | Pity Sex | Female Nudity | Shower Scene

Awards:

Won Oscar. Another 25 wins & 17 nominations

Cast

Nicolas Cage	...	Ben Sanderson
Elisabeth Shue	...	Sera
Julian Sands	...	Yuri
Richard Lewis	...	Peter
Steven Weber	...	Marc Nussbaum
Kim Adams	...	Sheila
Emily Procter	...	Debbie
Stuart Regen	...	Man at Bar
Valeria Golino	...	Terri
Graham Beckel	...	L.A. Bartender
Al Henderson	...	Man at Strip Bar
Shashi Bhatia	...	Hispanic Prostitute
Carey Lowell	...	Bank Teller
Anne Lange	...	Business Colleague
Thomas Kopache	...	Mr. Simpson

Also Known As:

Leaving Las Vegas (France)

MPAA:

Rated R for strong sexuality and language, violence and pervasive alcohol abuse.

Runtime:

111 min

Country:

France | USA | UK

Language:

English | Russian

Color:

Color

Aspect Ratio:

1.85 : 1

Sound Mix:

Dolby

Certification:

Iceland:16 | USA:R (certificate #33977) | Philippines:R-18 | Brazil:16 | Argentina:16 | Australia:R | Chile:18 | Denmark:16 | Finland:K-16 | France:-12 | Germany:16 | Hong Kong:IIB | Mexico:C | Netherlands:16 | Norway:15 | Peru:18 | Portugal:M/18 | Singapore:R21 | South Korea:18 | Spain:18 | Sweden:15 | UK:18

Filming Locations:

Bally's Casino Resort - 3645 Las Vegas Boulevard South, Las Vegas, Nevada, USA

Company:

Initial Productions

Trivia:

The movie that Ben and Sera are watching when they lie by the pool at the Desert Hotel is The Third Man (1949).

Goofs:

Factual errors: Yuri is supposed to be swearing in Latvian on the phone. In fact, he speaks gibberish.

Quotes:

Sera: I know a cool place in the desert.

Movie Connections:

Referenced in Saturday Night Live: The Best of Molly Shannon (2001) (V)

Soundtrack:

You Turn Me On

Viva Greek Tragedies

Not unlike John Huston's Under The Volcano, Leaving Las Vegas borrows from Greek mythology, obliquely mirroring the tragedy and pathos of Orpheus' failed attempt to rescue his dead wife, Eurydice, from Hades. Mike Figgis obliges us with a helpful hint in the scene where Nicolas Cage gives Elizabeth Shue a present of earrings: Greek cameos.

As in the ancient tale, love challenges the inevitability of death, although, in the case of LLV, roles are upended and sometimes blurred, and Orphean references are either thinly disguised, or non-specific to the point of being thoroughly sublimated. Academic, to be sure, but completely acceptable as long as LLV can sustain itself and remain engaging. And it surely does, thanks to Figgis' intelligent script and direction, Cage's role as a down-and-out writer and his protracted self-destruction, and Shue's portrayal of a lonely hooker, lifting that old bromide beyond what could have been routine, to a level not seen since Jane Fonda's character in Klute. Excellent performances all around.

With all that said, this film is not for everyone (in particular those who only respond to gratuitous sex, car chases, and mindless pyrotechnics). The lurid depictions of despair, self-loathing, and violence could put off even the most hardened social worker. In my mind's eye, I could see psychiatrists amongst the theater audiences, furiously jotting down their observations. Understandable; the two principal characters are, in the common parlance, screwed up. One cannot cope with failure, so decides to opt out, while the other does cope, but only barely, existing along the ragged edges of what passes for society in Nevada Hell. These details, though, tend to outline and, indeed, strengthen the true heart of this film: Sacrifice and Unconditional Love.

If this film is not for everyone, then who is it for? Those with real life experience and the maturity gained thereby. Those with strong emotional constitutions. Anyone appreciative of impassioned performances. Freudians. Alcoholics, recovering and otherwise. Pimps. Priests. Classicists. Petty whiners in need of perspective. And, more than anyone else, couples who plan on breaking up. In sickness and in health, 'til death do us part. 9.5 out of 10.