The Order vs The Order
Part II: The Ordering
(See Van Damme's attempt in the first exciting intallment!)
(See Van Damme's attempt in the first exciting intallment!)
The Order (2003) aka The Sin Eater
Dir and written by Brian Helgeland
Starring Heath Ledger, Mark Addy, Benno Fürmann, Shannyn Sossamon, Peter Weller
So Van Damme’s THE ORDER is more or less what you’d expect, plus split-kicking while dressed like a Rabbi. You’d think Heath Ledger’s THE ORDER would be pretty much like you’d expect it to be, too. I mean, early millennial studio B-movie with a rising star and an often-frustrated writer-director working in a mostly disreputable sub-genre. Should add up to something akin to UNDERWORLD, maybe like an EXORCIST: THE BEGINNING, right? Sort of dull, drab, uninspired, safe, crappy and predictable. You’d think. But you’d be wrong. This THE ORDER is a really fuckin’ weird movie, it almost doesn’t do anything you’d expect of it. I mean, it is crappy, I guess that part is pretty expected. But not in the usual, predictable way these things go. This is crappy in a weird, alien way, like it was made by someone whose only previous contact with humanity had been through Cinemax Softcore films and Catholic fan fiction.
Here’s the story, I think: Heath Ledger is Detective John Order, a Catholic priest who belongs to an obscure THE ORDER which is frowned upon by the church hierarchy for their delving into arcane knowledge re: demon fighting, etc. Mainstream Catholicism is really embarrassed by their old fashion exorcism-having ways,* which is a little perplexing because it seems like there’s a demon lurking around pretty much every corner here and also let’s face it, by the time you accept the idea of a God coming to Earth to sacrifice himself to himself so he can legally forgive an entire species for a sin committed by the first woman ever, I don’t know why demons are such a stretch. Might as well go whole hog at that point.
Nah I’m just playing, I kid Catholicism, we’re friends. But seriously, with a mainstream religion as wacky as that, you can hardly blame the movie for this shit not making any sense.
|What's he buuuuilllllldding in there?|
Anyway, point is that Heath discovers that his mentor/adopted father has died under mysterious demonic circumstances in Rome, and the extremely shady Peter-Weller-esque Cardinal Driscoll (Peter Weller) wants him to hoof it over there and check it out. For some reason he also takes along Mara (Shannyn Sossamon, 2002 Teen Choice Award for Choice Film Chemistry) a mentally ill young lady who has just escaped from a mental institution she was placed in after trying to kill our boy during a (botched?) exorcism, and who also wants to bone him but she can’t cuz he’s a priest. And because three’s a crowd, they also meet up with the other guy, Father Thomas (Mark Addy, JACK FROST**) who is allegedly some sort of charming Irishman, in the role of fat best friend. So off to the races they go!
Basically for awhile it’s just your standard detective story, our boys making the rounds, shaking down the local demonic forces for info, meeting unsympathetic figures of authority, visiting crime scenes and collecting forensic evidence, visiting the crime lab (in this case, arcane supernatural bookstore) and talking to the nerds about what it all means. So far so good, but here’s the thing: after some routine evil demon child fighting and shaking down the local nameless malevolent force, our primary suspect emerges, and things turn decidedly strange.
See, the prime suspect here is this guy with the stripper name of William Eden (Benno Fürmann, “Inspector Detector” from SPEED RACER), whose job is that he is a “Sin Eater,” i.e. the movie’s original, less generic title. Here’s what a Sin Eater does: he finds people who normally would be eternally damned by the Church (heretics, excommunicated former members, people who wear linen and wool together, anyone caught in white after labor day etc) and removes their sins, bringing them onto himself. The person is now free to go to Heaven, Sin Eater gets paid, and also it makes him more or less immortal, so he doesn’t have to worry about Hell either. Pretty sweet deal for the guy, pretty awkward situation for the Church, which really, really likes to have a monopoly on who does and who does not get into Heaven.
|"Oh Heath, if only you hadn't chosen to forsake the ways of the flesh and devote yourself to God, I would surely make love to you." "Be quite, Shannyn, I'm way into this sunflower right now"|
Here’s what makes the movie so weird: I think this dude is supposed to be the villain here; he does all the usual villainous things, like make speeches about how we’re not so different you and I, murders someone important, associates with known demonic forces, etc. But the movie is surprisingly ambivalent about him. In fact, after seeing him work, Ledger actually seems more or less in agreement with his motives and methods. And of course, it makes sense, because any person with even the faintest hint of a human soul has to applaud anyone that would do whatever it took to prevent someone else from going to hell, especially if they’re doomed to that fate because some asshole church bureaucrat excommunicated them over a political dispute. To wit: Ledger’s own mentor and adoptive father had recently been excommunicated over his quest for knowledge; officially, without some last minute sin-eating, this poor old man was doomed to burn in hell for eternity. I mean, who could possibly support something so horrific? And let’s remember, this is a God of forgiveness; murder as many people as you want, and the Church will still absolve you from your death bed if you offer sincere contrition. The only thing they won’t forgive is you getting kicked out of their club. Fuck that. Suffering for eternity because you opened the wrong book? This Sin Eating business sounds like a real victory for simple human decency. Did you fuckers learn nothing from my takedown of DANTE’S PEAK INFERNO?
That’s all pretty interesting philosophically, but it makes for a weirdly unstructured genre movie. I mean, what exactly is the conflict here? There’s a big conspiracy, but if the conspiracy is all in service of something you more or less agree with, or at least have very mixed feelings about, there’s not a whole lot of tension about punishing the people responsible, right? I guess the Eden part was originally going to be played by Vincent Cassel, he might have been more able to seem sneaky and villainous even while doing arguably the right thing. But Benno Fürmann has a real earnest Jeremy Renner nice guy quality to him, it’s hard not to buy that he’s essentially right. There IS one unambiguously evil guy, but I’m not actually sure what his stake in any of this was, or how exactly he’s involved. It kinda seems like he was involved in this conspiracy part time as a hobby or something, he does have an evil plan but it doesn’t seem to have anything to do with Heath Ledger or Sin Eating, at least as far as I can tell; he’s kinda got his own thing going and then they randomly happen to learn about it, unrelated to their investigation. They (SPOILER) him in the end, though, so… yay?
|Good name for a bakery renowned for their rich chocolate desserts, possibly not such a good name for a movie.|
Aside from its weird wandering ambiguous plot, the movie has the unusual distinction of having a script which appears to be composed of 100% clichéd philosophy quotes taken out of context. How else could you explain an incident where a minor character solemnly intones: “Knowledge is the Enemy of Faith. And sometimes when you look into the abyss... the abyss looks back into you.” That’s not a line of dialogue, that’s a fortune cookie put together by a google search algorithm. Apart from being dodgy paraphrases of famous quotes, I can’t help but notice that those sentences have nothing to do with each other. Is knowledge supposed to be the abyss? I don’t get it. Heath Ledger nods gravely, though. Guess it’s one of those little in-jokes between seekers of arcane knowledge.
Also: “Every life is a riddle. The answer to mine is knowledge, born of darkness.”
The movie is full of that kind of thing, just total howlers. Writer Helgeland (NIGHTMARE ON ELM STREET IV: DREAM MASTER) would be nominated for an Academy award for his MYSTIC RIVER screenplay this same year; I’m not a huge fan of that one, either, but at least no one is throwing around Nietzsche quotes willy-nilly. I guess he was trying to match his characters’ diction to the big, gothic Catholic drama he’s trying to conjure here, but wow, does it not work. Even poor Heath Ledger gives a pretty embarrassing performance here. I think he’s going for naturalism, but given that dialogue you can imagine about how well it comes off. Mostly, he just seems kind of jet lagged and out of it, or maybe like he's trying to play off the fact that he doesn’t speak the language and can't understand a single thing anyone is saying to him. It’s weird, the whole main cast is more or less directly imported from Helgeland’s previous film, A KNIGHT’S TALE, where they’re all so charming and lively. Here, only Mark Addy comes off with any kind of dignity at all, and it’s really only because he’s the only cast member who occasionally smiles.
|Bad Boys, Bad Boys, whatcha gonna do?|
There’s not a whole lot of dignity to go around for anyone; the entire enterprise has an off-putting amateurishness to it, full of awkward edits, listless framing, the whole nine yards. In fact, for much of the runtime it looks like it must have been made for almost nothing, you might even think it was a no-budget indie effort from a few years earlier if you didn’t know better. Occasionally, you do see some money on-screen (sins represented by CGI transparent soul squids, for example. I don’t think I remember that part of the bible) but mostly even if it looks like it must have been expensive they don’t get their money’s worth here, it comes off looking cheap anyway. They do have two pretty nice sets, though. One is a big evil throne room kind of deal (see pic above), lots of good detail there and even a little atmosphere generated solely by the set itself. The other is a set which is supposed to be the inside of St. Peter’s Basilica. It’s pretty convincing, as are a couple other fancy Vatican sets you see from time to time. They couldn’t have actually got permission to shoot inside a real Vatican church, right? These have got to be sets, but they’re good ones, real impressive looking and details-rich. So good job, set designer of THE ORDER, even though they kinda squander it by shooting things to look as cramped and unimpressive is they can.
I dunno, man, it’s kinda hard to even criticize this one since I can’t even confidently say what they were even going for to begin with. Is this supposed to be some kind of twisty gothic mystery? Some sort of morose philosophical meditation? A doomed love story, perhaps? A horror movie? I honestly have no idea. For a movie about an Order, there doesn’t seem to be a lot of guiding intent here. Maybe should have stuck with that Sin Eating title, guys.
|These are some nice ass stairs. Good job, organized religion.|
* Guess the new Pope watched this movie and saw the error in their ways, because…
** The Michael Keaton one where the dead dad comes back as a snowman, not the 1997 one where the dead serial killer comes back as a snowman and rapes a chick with his carrot nose, although now that you mention it they sort of have the same plot except for the whole carrot rape thing. And I gotta admit it’s been awhile since I watched the Keaton version, maybe that’s in there too.
ORDER VS ORDER FINAL SCORECARD:
WINNER: Van Damme, by virtue of at least being cheerful about all this.
LOSER: Anyone who had to watch both films.WHAT HAVE WE LEARNED? The early 2000’s were a rough time for movies.
WHO WORE IT BETTER? As much as I will always treasure my time with Rabbi Van Damme, you can't deny how fuckin' fly Heath be lookin' with those vestments. Insert applicable alter boy joke here.