A bad trip

The American in Monthy Python, Terry Gilliam, is behind the screenwriting and direction of Fear and Loathing in Las Vegas.

The film has been adapted for the screen from journalist Hunter S Thompson's classic novel of the same name, which was based on a journey he took with friend and attorney Oscar Zota Acosta, to cover a story for Sports Illustrated, in what he called The Foul Year of Our Lord, 1971.

Raoul Duke is Thompson's manic alter ego. Dr Gonzo is the attorney. They hit the road with a trunk full of mind bending pharmaceuticals, and head for Las Vegas.

Why they go is anyone's guess but reading between the lines, as you have to - otherwise they appear to be just two nutters getting high for two hours - they go because they're looking for the American Dream, although they know in their hearts it's long since turned into a nightmare.

Both are disillusioned with life and the America they had known. It was 71, Nixon was still in power, the 60s were over, the Beatles had broken up, Joplin, Morrison and Hendrix were dead. The journey to Las Vegas was almost like a mission to find something to believe in.

Johnny Depp stars as Raoul Duke, which he manages brilliantly, displaying his talent for physical performance as demonstrated in films like Benny & Joon and Edward Scissorhands. But by the end of the film his ever present cigarette holder and his ducking and weaving are more than a tad irritating.

Co-starring as Gonzo is Belnicio Del Toro (The Usual Suspects and Basquiat), who put on nearly 40 pounds for the role to fit Thompson's description of Dr Gonzo in the novel. Cameo appearances from Harry Dean Stanton, Cameron Diaz and Lyle Lovett amongst others add to the cast list.

Recreated to look like the Vegas of 71, with a small voiceover from Debbie Reynolds herself, the film is as psychedelic as the drugs consumed in large doses along the way and is funny and scary in alternating scenes.

Fear and Loathing does for LSD what Trainspotting did for heroin - puts you right off. Watching it is reminiscent of being an angst ridden teenager reading Jack Kerouac, pretending it made sense.

It's been said that it took 25 years to put it on the screen because of its singularity and perhaps the notion that it was waiting for the right director. One thinks maybe it was because someone had the sense to leave it where it belonged - in a novel.

If you want to read between the lines to the deeper meaning, get the book. If you want to reminisce about acid trips you took in the 70s, go see the film. If not, give it a miss.

By Tara O'Liaith