Nihilism and moral relativism of the 1990s were reflected in new ways of drug abuse being portrayed in films. Previously, only the victims - drug addicts and their loved ones - or heroic crusaders trying to cleanse the streets of that evil were allowed to be protagonists in these films. Partially thanks to Tarantino, the drug phenomenon began to be portrayed from the perspective of those who use it as a way to make a living - dealers. This trend quickly spread worldwide, including Denmark, a small country with a vibrant cinema industry. One of the best-known films of this kind is Pusher, a 1996 crime drama and the directorial debut of Nicolas Winding Refn.
The protagonist of the film is Frank (played by Kim Bodnia), a mid-level drug dealer operating in Copenhagen with his best friend Tonny (played by Mads Mikkelsen). He currently owes a large sum of money to Milo (played by Zlatko Burić), his supplier and one of city’s top Montenegrin mobsters. When approached by an old prison acquaintance from Sweden and offered to take part in a huge heroin deal, he sees it as a fine opportunity to pay off debts and even make a large profit. He convinces Milo to supply the merchandise, but the actual exchange goes terribly wrong - someone has tipped off the police, and Frank has to throw Milo's drugs into the lake before he is arrested. Release from custody is not the end of Frank's troubles - Milo is angry and demands immediate recompense, or else Frank will have to deal with his quiet and sinister assistant Radovan (played by Slavko Labović). Frank must now employ all his tricks to squeeze every last penny from his customers and business associates, but as the week progresses and the deadline approaches, each of his schemes tends to end in disaster.
Many critics have described Pusher as "Pulp Fiction made in Dogma 95 style." Their arguments are based on the use of handheld cameras, natural lighting, and the almost complete absence of a separate music soundtrack. However, Pusher was made with a very low budget, so these characteristics could be better explained by the lack of financial resources rather than some kind of lofty artistic statement. In any case, this serves the film very well as it adds to its grittiness and naturalism, which is quite fitting for its dark and depressive subject matter.
The standout asset of the film is Kim Bodnia, an actor who has gradually become one of the most recognizable stars of European cinema. Bodnia portrays Frank as a complex character who can evoke sympathy despite many of his actions being morally reprehensible and, later in the film, downright pathetic. Bodnia effectively utilizes his macho look - initially, the audience is fascinated by the way his character implicitly uses his physical presence as a business tool while dealing with his customers. Later, this look only emphasizes Frank's sense of helplessness when confronted by colleagues who may not have his muscles or charisma but hold higher positions in the drug world's food chain. Bodnia's blend of stoicism and vulnerability enhances the film, even in scenes that may seem like clichés used solely to evoke sympathy - such as conversations with his elderly mother or drug-abusing prostitute girlfriend.
Bodnia's co-stars are equally impressive, particularly Zlatko Burić and Slavko Labović. Both would later reprise their roles in two Pusher sequels, and Labović would even portray an alternative version of Radovan in In China They Eat Dogs and its 2002 sequel. Role of Tonny also represented screen debut for Mads Mikkelsen who would also appear in sequel and in next few years become one of the most notable Danish actors in the world cinema.
Despite the ending, which partially betrays its naturalism with a sort of pseudo-moralistic comeuppance for the main character, Pusher is a very good film. If certain enterprising individuals start to reconsider entering certain over-glamorised profession after watching, it could deserve even more praise.
RATING: 7/10 (+++)
(Note: Original version of the review is available here.)
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