Dr. Robert Hare, one of the foremost researchers on sociopathy, believes that a sociopath is four times more likely to be at the top of the corporate ladder than in the janitor’s closet, due to the close match between the personality traits of sociopaths and the unusual demands of high-powered jobs.
M.E. Thomas, Confessions of a Sociopath: A Life Spent Hiding in Plain Sight
Jake Gyllenhaal has had an interesting career so far. He’s made good choices and played interesting parts. But then, you could argue he started out in Donnie Darko, so he hit the ground running.
With Nightcrawler he’s gone up another level. Some critics have compared his performance to De Niro’s Travis Bickle. In terms of his character’s detachment from society it probably is on that level, but in other ways it’s far more compelling (and brought right up to date for modern-day society).
Gyllenhaal plays Lou Bloom who, when we first meet him, is a bit of a thief and a hustler. He is clearly a driven and articulate individual, but he has no purpose. Then one night he sees a car wreck on the highway and, as the police help the victim, he watches with fascination as a couple of guys race up in a van and film the whole thing. He’s instantly hooked and has found his calling.
Like all good predators they lure you into a false sense of security and allow you to get close, but by the time you realise what their game is it’s too late. This is when Lou is at his scariest. For the most part he seems normal, albeit a bit odd, until he needs something from you. He’ll then persuade, reason and negotiate until, when all else fails, he threatens. And he means it.
At one point he says ‘I like to think that when people meet me they’re having the worst day of their lives.’ This applies not only to victims of crime that he films, but almost anyone he meets. If you’ve just met Lou, your day is about to get a hell of a lot worse. This is none more evident than the manner in which he treats his assistant Rick (Riz Ahmed), who gets a seriously rough ride throughout, to put it mildly.
Writer and director Dan Gilroy (making his directorial debut) has, in Lou Bloom, created a chillingly realistic portrayal of a man that will do whatever it takes to achieve his goals. He spends much of his time talking about his company and business strategy, spouting corporate jargon as if he vehemently believes it.
However, the situations in which he finds himself – in an effort to capture the perfect shot – are ludicrous and highly disturbing to anyone who has even a questionable moral compass and ounce of humanity. For Lou, he is a predator in the purest sense. Duran Duran’s Hungry Like The Wolf would be the perfect theme song to this film.
Indeed, Gyllenhaal’s attention to character detail is masterful – from his cautious, fight-or-flight body language as he approaches a crime scene to the way his eyes seem to get bigger and light up in the darkness of the LA night if he senses a story is at hand.
Nightcrawler is the sort of film you go into with little expectation. At times it’s horrific and thrilling, but most of all it’s captivating. Much like the car wrecks and violent crime that Lou films, we can’t take our eyes off him as a character.
You can see where the film is largely going, but the inexorable, creeping sense of dread that it instils in you on the journey is something from which you cannot escape. And nor do you want to, in a twisted sort of way.