The cinematic boundaries are boozily and blissfully blurred in brothers Bill and Turner Ross’s absorbing and intoxicating film which cleverly uses the notion of an alcohol-tinted version of life to tell the story of a Vegas dive bar and its idiosyncratic regulars just as it is set to close down.
A great idea for a documentary for sure. But all is not as it seems. Though the bar exteriors are framed for Las Vegas, the film was shot in New Orleans and the ‘regulars’ were assembled through a series of casting sessions. And a splendid bunch they are, entirely convincing as a ramshackle, rollicking and rumbustious bunch who are entirely naturals when it comes to propping up a bar or serving the drinks, though at the core is trained actor Michael Martin whose pitch-perfect ‘performance’ as a long-haired regular gives the film balance and momentum.
The bar – preferably one where everyone knows your name – has long been the perfect backdrop to try and delve into the illnesses, tribulations and wonders of the world, where booze-fuelled eccentrics fuel their memories, give vent to their anger and emotions and stagger out into the night barely remembering what has happened in the hours that have passed.
This Vegas dive bar, The Roaring 20s, is in its last day before closure. The film follows the passage of a single day as the gnarly regulars start to arrive, ready to put up celebrations of sorts and adjust to the fact that their boozy bastion is finally shutting up shop. It is a time for home truths to be stated (and often shouted), relationships to be fostered or ruined and sodden memories to dwelled upon.
Whether native Las Vegans would have been different bar-dwelling personalities than those recruited from New Orleans will never be clear, but those recruited are convincing and thoroughly watchable. Like an adult-rated version of Cheersthis dishevelled group act as an off-beat microcosm of American society, and while the film can have its soap opera moments as they bicker, threaten, flirt and reminisce, Bloody Nose, Empty Pockets is powerful, watchable and rather unique.
Following its premiere at Sundance this year, it is a film that has travelled well, appealing to critics and playing well the audiences. It has the elements in place to sell well, though its hybrid structure may challenge some platforms and distributors. But it remains a striking story that certainly feels like a sodden slice of life.
US, 2020, 99mins
Directors: Bill Ross IV, Turner Ross
Production: The Department of Motion Pictures, XTR
International sales: Cinephil
Producers: Michael Gottwald, Chere Theriot
Cinematography: Bill Ross IV, Turner Ross
Editor: Bill Ross IV
Music: Casey Wayne McAllister
With: Michael Martin, Bruce Hadnot, Pete Radcliffe, Pam Harper, Shay Walker
