| Jack Bracken |
There are three kinds of justice in the universe and everyone believes in at least one of them: God’s justice … the legal justice of the
state … and, finally, street justice.
state … and, finally, street justice.
The easiest of the three seems to be the justice of the state: a crime is committed; the perpetrator is caught, tried, judged, fined,
sentenced to either some form of community service or incarcerated. Afterwards, the criminal is set free, the debt to society having
been paid.
sentenced to either some form of community service or incarcerated. Afterwards, the criminal is set free, the debt to society having
been paid.
God’s justice is swift and permanent: the wages of sin being eternal damnation.
Street justice exists because some do not accept that God’s justice exists at all, it simply isn’t enough for them. The justice of the
state is just too lenient, too weak, too inconsequential and not permanent enough. For atheists, death is the ultimate end of
everything, there is no God or a promise of an afterlife, and so death is the harshest punishment of all.
state is just too lenient, too weak, too inconsequential and not permanent enough. For atheists, death is the ultimate end of
everything, there is no God or a promise of an afterlife, and so death is the harshest punishment of all.
Those criminals who are not ‘career criminals’ or ‘criminally insane’, sentenced for crimes of passion or circumstance, generally
want only to toe the line of the system and live quietly afterwards. The character of Ray Frye, played by Scott Leet, falls into this
latter category. The noir tone of this story is set from the opening scene: the camera view point is mounted from the roof top of a
black car. It is travelling across a city road at night. The street lights and neon signs are reflected up the hood and windscreen as it
speeds along. The car eventually pulls over and a woman called Vicki steps out, played by Jennifer Cook. She looks moody and
enters the bar with a demeanor conveying that she is not only asking for trouble – but is also a whole lot of trouble herself. The
barman greets her – kind of! – and Vicki sets her sights on the young, depressed-looking guy sitting at the end of the bar. This is
Ray Frye, just turned 21-years-old, already well on his way to drinking his troubles straight to oblivion. A cruel smile spreads across
Vicki’s face and she decides to give him one more problem – herself! She dumps her cigarette into the bottom of her glass and with
the hiss of it being extinguished we have a fast jump cut to a dingy hotel room. Ray is flat on his back with the sadistic Vicky
straddling him, using him not only for sex but also to vent her own personal rage. This is more than Ray bargained for; this isn’t the
way he is and he doesn’t handle it well.
want only to toe the line of the system and live quietly afterwards. The character of Ray Frye, played by Scott Leet, falls into this
latter category. The noir tone of this story is set from the opening scene: the camera view point is mounted from the roof top of a
black car. It is travelling across a city road at night. The street lights and neon signs are reflected up the hood and windscreen as it
speeds along. The car eventually pulls over and a woman called Vicki steps out, played by Jennifer Cook. She looks moody and
enters the bar with a demeanor conveying that she is not only asking for trouble – but is also a whole lot of trouble herself. The
barman greets her – kind of! – and Vicki sets her sights on the young, depressed-looking guy sitting at the end of the bar. This is
Ray Frye, just turned 21-years-old, already well on his way to drinking his troubles straight to oblivion. A cruel smile spreads across
Vicki’s face and she decides to give him one more problem – herself! She dumps her cigarette into the bottom of her glass and with
the hiss of it being extinguished we have a fast jump cut to a dingy hotel room. Ray is flat on his back with the sadistic Vicky
straddling him, using him not only for sex but also to vent her own personal rage. This is more than Ray bargained for; this isn’t the
way he is and he doesn’t handle it well.
Jack Bracken, played by Mickey Rourke is outside the door, watching, listening and waiting for the right moment to walk in on
them. He waits too long because Vicki is accidentally killed when Ray attempts to throw her off him. This is the moment when, for
Jack and Ray, life has been changed. Jack knocks Ray unconscious and arrests him. Jump to the present: Ray is in a prison cell,
looking at a wallet-sized photograph of his son. Ray’s time in prison is over: he has served 7 years of a 14-year sentence. The title
Out in Fifty is derived from this, meaning that a prisoner, through good behaviour and parole, can be freed in half their allotted
prison term. Ray is now a changed man after 7 years in the slammer. He sports a goatee, is built up, toughened up and tattooed. The
first thing that Ray does is probably what any one of us would do in his position, after years spent locked away in a cell … he
spends some time just walking around, taking in the sights, sounds and scents of the outside world, along with all the changes he has
missed happening. This is an element touched upon, however briefly, in many similar stories: how depending on the length of time
someone has been imprisoned for – may determine on their level of psychological institutionalization and the amount of ‘culture
shock’ they experience upon release. Many have become completely institutionalized and simply cannot cope with the outside
world. One of the best portrayals of this condition was through the character of Brooks Hatlen, played by James Whitmore, in
Frank Darabont’s 1994 The Shawshank Redemption.
them. He waits too long because Vicki is accidentally killed when Ray attempts to throw her off him. This is the moment when, for
Jack and Ray, life has been changed. Jack knocks Ray unconscious and arrests him. Jump to the present: Ray is in a prison cell,
looking at a wallet-sized photograph of his son. Ray’s time in prison is over: he has served 7 years of a 14-year sentence. The title
Out in Fifty is derived from this, meaning that a prisoner, through good behaviour and parole, can be freed in half their allotted
prison term. Ray is now a changed man after 7 years in the slammer. He sports a goatee, is built up, toughened up and tattooed. The
first thing that Ray does is probably what any one of us would do in his position, after years spent locked away in a cell … he
spends some time just walking around, taking in the sights, sounds and scents of the outside world, along with all the changes he has
missed happening. This is an element touched upon, however briefly, in many similar stories: how depending on the length of time
someone has been imprisoned for – may determine on their level of psychological institutionalization and the amount of ‘culture
shock’ they experience upon release. Many have become completely institutionalized and simply cannot cope with the outside
world. One of the best portrayals of this condition was through the character of Brooks Hatlen, played by James Whitmore, in
Frank Darabont’s 1994 The Shawshank Redemption.
The precondition of Ray’s release inevitably means that he is under the strict supervision of a parole officer called Ed Walker for 3
years, played by Ed Lauter, who advises and warns Ray that he can either help him or hurt him. If Ray steps out of line once – he
returns to prison to serve out the other half of his sentence. As difficult as life is going to be for Ray, it still isn’t going to be that easy
… Jack Bracken, now a heavy drinker and twisted by his own hatred for Ray and need for revenge, has become his nemesis.
years, played by Ed Lauter, who advises and warns Ray that he can either help him or hurt him. If Ray steps out of line once – he
returns to prison to serve out the other half of his sentence. As difficult as life is going to be for Ray, it still isn’t going to be that easy
… Jack Bracken, now a heavy drinker and twisted by his own hatred for Ray and need for revenge, has become his nemesis.
Jack’s partner is Tony Grayson, played by Peter Greene. Tony is more level-headed, with a wife and family and his mind set on
acquiring his pension at the end of his career in the police department. His loyalty to his partner is in jeopardy. Jack regrets not killing
Ray when he had the chance in that hotel room. Sitting alone in his home, fuelled by cocaine and alcohol, Jack is tortured and
haunted by visions of his long-dead wife, Vicki. Guilt is thrown into the melting pot of Jack’s anguish. There must have been serious
problems in their marriage for Vicki’s obvious rage and infidelity.
acquiring his pension at the end of his career in the police department. His loyalty to his partner is in jeopardy. Jack regrets not killing
Ray when he had the chance in that hotel room. Sitting alone in his home, fuelled by cocaine and alcohol, Jack is tortured and
haunted by visions of his long-dead wife, Vicki. Guilt is thrown into the melting pot of Jack’s anguish. There must have been serious
problems in their marriage for Vicki’s obvious rage and infidelity.
Ray rents a room from a low-life called Lefty and sets about attempting to find himself gainful employment. Ray rescues Steve
Fisher, played by Bojesse Christopher, from muggers and the pair of them strike up a partnership. To reciprocate, Steve offers
Ray a partnership in his home-visit car waxing business. Ray accepts … but most likely because it is the only option open to him.
Steve is an annoying character; a pot-head into his own style of bad rap and dressed up most of the time like the 1970s motorcycle
stuntman, Evel Knievel. He can’t hold a conversation without dancing around and trying to make his sentences rhyme. But is this
really Steve’s true personality on display … or is it all a ruse? A front that Steve slyly projects to keep others at bay and prevent
them from knowing what he is really thinking and scheming.
Fisher, played by Bojesse Christopher, from muggers and the pair of them strike up a partnership. To reciprocate, Steve offers
Ray a partnership in his home-visit car waxing business. Ray accepts … but most likely because it is the only option open to him.
Steve is an annoying character; a pot-head into his own style of bad rap and dressed up most of the time like the 1970s motorcycle
stuntman, Evel Knievel. He can’t hold a conversation without dancing around and trying to make his sentences rhyme. But is this
really Steve’s true personality on display … or is it all a ruse? A front that Steve slyly projects to keep others at bay and prevent
them from knowing what he is really thinking and scheming.
Things get complicated again after Ray moves in with Steve and his wife, Gloria, played by Nina Ofenböck. The attraction and
chemistry between Ray and Gloria is both immediate and mutual. Gloria dreams of being a successful actress. Her lack of success,
along with the bad relationship she has with her sister, Steve’s inability to stop smoking dope and get his ass moving in the right
direction, fuels her own depression. An added twist to the story comes with the introduction of Gloria’s sister, Sarah, played by
Nikki Bokal, a cold-hearted social climber and gold-digger, who also has an extra thing going on the side with Steve.
chemistry between Ray and Gloria is both immediate and mutual. Gloria dreams of being a successful actress. Her lack of success,
along with the bad relationship she has with her sister, Steve’s inability to stop smoking dope and get his ass moving in the right
direction, fuels her own depression. An added twist to the story comes with the introduction of Gloria’s sister, Sarah, played by
Nikki Bokal, a cold-hearted social climber and gold-digger, who also has an extra thing going on the side with Steve.
Bojesse Christopher and Scott Leet both put in a lot of time, effort and work on this movie. Both collaborated in its direction,
production and in the writing of the script, along with acting as two of the characters in front of the camera. Considering the low
budget they had to work with, the makers have succeeded in creating a movie with much to say that is above the norm. They have
also provided some effectively surreal fast-cut effects which add an edge to the narrative. Scott Lee is a formidable screen presence,
playing his role in a way that is reminiscent of a young Clint Eastwood. Besides his work in TV, his other movies are L.A. Twister,
Life on Mars and Solitaire.
production and in the writing of the script, along with acting as two of the characters in front of the camera. Considering the low
budget they had to work with, the makers have succeeded in creating a movie with much to say that is above the norm. They have
also provided some effectively surreal fast-cut effects which add an edge to the narrative. Scott Lee is a formidable screen presence,
playing his role in a way that is reminiscent of a young Clint Eastwood. Besides his work in TV, his other movies are L.A. Twister,
Life on Mars and Solitaire.
There are a number of recognizable cameos: Christina Applegate, who plays Lilah, a girl Ray rescues from the downward spiral of
petty crime and who later pays Ray back with a fond thank you. Also included is Alexis Arquette, as Kim; James Avery, as Cappy;
and Balthazar Getty, as Lefty.
petty crime and who later pays Ray back with a fond thank you. Also included is Alexis Arquette, as Kim; James Avery, as Cappy;
and Balthazar Getty, as Lefty.
Two of the most notable are Peter Green, who was became instantly recognizable after playing Zed, in Quentin Tarantino’s 1994
Pulp Fiction and after playing Redfoot the Fence, in Bryan Singer’s 1995 The Usual Suspects.
Pulp Fiction and after playing Redfoot the Fence, in Bryan Singer’s 1995 The Usual Suspects.
Also Ed Lauter, who has turned in many excellent supporting roles since the 1970’s, in movies such as The Longest Yard,
Executive Action, The New Centurions, True Romance, The Jericho Mile, Death Hunt, Thirteen Days and, opposite Mickey
Rourke again, in Nicholas Roeg’s 1982 Eureka.
Executive Action, The New Centurions, True Romance, The Jericho Mile, Death Hunt, Thirteen Days and, opposite Mickey
Rourke again, in Nicholas Roeg’s 1982 Eureka.
One of the many things I have always admired Mickey Rourke for is his ability to make me believe in the characters he is playing. In
Out in Fifty he convinces as a burned-out cop, haunted and tortured by his demons, suffering and raging in his own personal hell.
Out in Fifty is not a noir crime revenge thriller in the traditional sense; it is a surreal psychodrama with almost all of the characters
affected by some degree of mental illness. This is a story that focuses on how disastrous some choices can be; how one accident of
circumstance or wrong turn made at the proverbial crossroads can cause a calamity that can have serious ramifications for everyone
affected by the situation, the domino effect sometimes lasting a lifetime. There is an important point illustrated in this story, one that is
reflected in all of our lives, one that we can all relate to, especially Mickey Rourke in his own life and career: we are all entitled and
deserve a second chance!
Out in Fifty he convinces as a burned-out cop, haunted and tortured by his demons, suffering and raging in his own personal hell.
Out in Fifty is not a noir crime revenge thriller in the traditional sense; it is a surreal psychodrama with almost all of the characters
affected by some degree of mental illness. This is a story that focuses on how disastrous some choices can be; how one accident of
circumstance or wrong turn made at the proverbial crossroads can cause a calamity that can have serious ramifications for everyone
affected by the situation, the domino effect sometimes lasting a lifetime. There is an important point illustrated in this story, one that is
reflected in all of our lives, one that we can all relate to, especially Mickey Rourke in his own life and career: we are all entitled and
deserve a second chance!
As Ray Frye, 46 minutes into the movie, tells it:
“A man’s got to start trusting sometime.”
“A man’s got to start trusting sometime.”
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| This character synopsis was written by John Walker feedback is greatly appreciated. |
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