NIGHTCRAWLER

Nightcrawler, the directorial debut of screenwriter Dan Gilroy, is akin to Martin Scorsese's Taxi Driver in its close observance of titular characters of no observable depth of integrated personality who improvise their world views and philosophies on the fly. The shred goal of the men in both of these films is that they are at the frayed ends of the society they live, seeking either to have it fit and serve their erstwhile agendas or disrupt, disturb and injure in some fashion that comes with a warning. In Taxi Driver, Robert DeNiro plays a sociopath who transfers his feelings of impotence and inadequacies onto the oppressive demands of the consumer culture; driving a cab through New York at night, he roams among the hookers, pimps, drug dealers who he finds disgusting and nurses an attraction-repulsion with those he perceives as rich and powerful, a class he wishes to both be a part of and wishes to destroy as well. Feeling that he's been dealt the rawest hand possible by powers on high, he vaguely plots to make something happen, something that would both change the way things are and define him as someone to be noticed and respected. During Taxi Driver, effectively maneuvered by director Scorsese, Travis Bickle, DeNiro's emotionally unassimilated character, morphs from a sad and comic figure to someone who becomes menacing; the feeling that something will eventually, sooner than later, go wrong with this scenario is unavoidable.

Nightcrawler is another cool, restrained, artful study of a marginal personality attempting with their self-invented methods to define himself in a world that knows him not. Jake Gyllenhaal is a petty thief named Louis Bloom who hustles his way into the world of being a freelance news videographer, the sort of dude who waits in his car, listens to a police scanner awaiting the announcement of a bloody auto accident, a robbery, a murder, plane crash and then responds so that he can film it and sell the morbid footage to a local news channel. Gyllenhaal has, like DeNiro, a sort of charisma that he oozes and applies effectively in the role, a wide smile, wide, attentive eyes and a patter borrowed from self-help books and online encyclopedias. This a beautifully shot movie, a grand picture of Los Angeles after dark, with sharply drawn contrasts; the color scheme is gorgeously dark and makes the city's nocturnal side, shot from hill tops, side streets, alley ways and four ways stops, glisten even still like a display of expensive diamonds. Gyllenhaal's character is, to be sure, a sociopath, someone of no real concerns for the world apart from his ability to negotiate a better position for himself; as the character rises in his new profession of filming the bloodiest events after hours, we witness him manipulate, twist, apply his creepily persuasive talk to gain his way. He displays a mastery of his character that is unnerving to see unfold, where in different situations we see him learning how to coax responses he prefers to come from people, going from botched negotiations when trying to get a price he wants for stolen metal material, to getting low balled on a price when he sells his bike to a pawnbroker.

He learns from his mistakes by obsessively analyzing the words he chose in those situations and scours the internet courses to study research about human behavior and taking business classes where he appears most impressed by the lessons that instruct him in strong, goal oriented business language. His life becomes dedicated to a business plan that he has adopted as a philosophy and perhaps a substitute for a moral compass; when confronted with objections, protests, and criticisms of his rationale and activities and results of plans that hadn't gone well, Gyllenhaal responds with a firm, calm response that is denial couched in the rhetoric of mass market motivational books.The effects are frequently comic, as the character baffles and bamboozles others, but there is a sense of the thing culminating in an oncoming catastrophe. Gilroy, directing his script, has the right touch for establishing the growing sense of unease; even as the story accelerates and the danger becomes more intensely presented, the film is steady in the pacing; there is the sense that you're watching an accident about to happen and there is nothing you can do to stop it. A large part of the horror is when we realize that we are watching a man who is without compunction, remorse, or any sense of moral right or wrong. He is a monster, a real monster, with no agenda apart from achieving his ends. This is a fine motion picture, wonderfully filmed, acted, edited. One looks forward to more movies from Dan Gilroy.