The Limey takes a rather simple storyline – man seeks revenge for the death of a loved one – and tells the story in a unique way. The movie makes use of a non-linear story editing style, selective music, and inclusion of footage of its lead actor from a movie released three decades prior. The style requires viewers’ attention but ultimately keeps the pace from building to a memorable, grand finale. All in all, The Limey is definitely worth watching at least once, especially for viewers who appreciate unusual or different ways of telling a story.
Originally released in 1999, The Limey has been re-released in 4K and Blu-ray format. The movie makes use of a non-linear story editing style, selective music, and inclusion of footage of its lead actor from a movie released three decades prior. While the music and old footage help to tell the story, the unique editing style is a bit of a double-edged sword. The style requires viewers’ attention but ultimately keeps the pace from building to a memorable, grand finale.
For those unfamiliar with the story or those who want a refresher – The Limey tells the story of Wilson (Terence Stamp), a man recently released from prison with only the thought of getting revenge against his daughter’s killer on his mind. Though her death appeared to be an accident, Wilson is sure that record producer Terry Valentine (Peter Fonda) is truly to blame. With help from his new friends Eduardo (Luis Guzman) and Elaine (Lesley Ann Warren), Wilson will get his answers and his revenge . . . even if it kills him.
Directed by Steven Soderbergh, The Limey runs an hour and 29 minutes and also stars Nicky Katt, Amelia Heinle, Melissa George, and Barry Newman.
The Limey opens with Wilson (Stamp) flying to America. The Who’s “The Seeker” is played to tell viewers that Wilson is a man with a mission, though we don’t know what or who it is that he seeks just yet. As Wilson arrives in his hotel room, the editing begins to change and viewers will likely start to question what exactly is happening.
In a unique approach, the plot of The Limey is occasionally told non-sequentially. Wilson is just arriving and making his next plans, but viewers are also given brief glimpses of scenes that chronologically happen before and after Wilson is in the hotel room. For example, he is shown speaking with a man who might have information about the purpose for Wilson’s trip. It’s shortly revealed that this conversation has not happened yet. And back to the plane trip – is that Wilson arriving in America or leaving the country after finishing his mission?
This style continues in how dialogue is played and conversations are filmed. When Wilson does finally speak with the man shown earlier, viewers learn that this is Eduardo (Guzman). It’s in this conversation that viewers also begin to piece together that Wilson, just released from prison, has come to America to avenge his daughter Jenny’s death. Eduardo, a friend of Jenny’s, is willing to help.
That’s the takeaway content of their meeting; however, visually and audibly, many different things are happening here. Much of the dialogue is spoken without the characters’ mouths moving, making it sound almost like their inner thoughts. This often gives the dialogue an improvised feel that works. Occasionally jump cuts also make time in the conversation move quicker.
It’s also in this scene that the movie first uses its style of filming conversations from one side for extended periods of time. While the dialogue is a conversation between the two characters, the camera stays with only one of them for several lines before switching to the other. It is not edited to show each participant in the conversation delivering every line.
Throughout this introduction of two of the movie’s lead characters, footage from the past, present, and future is again interwoven throughout the conversation. It keeps viewers on their toes. You must pay attention to fully understand what has happened, what is happening now, and what is expected to happen later in the story.
In addition to the offbeat editing, as the story progresses the movie also begins to incorporate two other types of footage. Flashbacks to a young Jenny and an adult Jenny (George) just before her death are now added to the mix. These clips are often given a heavy blue tint.
As more information is revealed about the protagonist, viewers also begin to see clips of a much younger Wilson. This isn’t another actor or a digitally de-aged Terence Stamp. It’s actually footage of Stamp from the 1967 film Poor Cow used with special permission. Though The Limey is not a sequel to Poor Cow, the footage fits perfectly and helps to round out the character of Wilson.
Stamp in the role of Wilson is the movie’s strongest character. Wilson isn’t a man of many words, but those that are spoken are slow, deliberate, intense, and heavily Cockney. Stamp sells the idea that this man has been to prison and isn’t afraid to go back. Though saddened by his daughter’s death, he is far more vengeful and angry than anything else. Characters who get in his way quickly find that to be true.
For an action movie, there really isn’t that much physical action. However, the scenes that do include action and car chases and shootouts are some of the movie’s best. In a few scenes, the action isn’t in the foreground of the camera shot – another way to keep viewers engaged and attentive.
The movie also makes excellent use of Eduardo as both a sidekick to and comedic foil for Wilson. Almost all of the movie’s humor is provided by Eduardo and often comes in the form of Eduardo misunderstanding and questioning Wilson’s British slang.
Another excellent character is Peter Fonda’s Tommy Valentine – the antagonist of the story, though the character certainly doesn’t see himself that way. In his first onscreen appearance in the film, Valentine is introduced in a brief musical montage that shows clips of him in various scenes and settings – not something you see in every movie. Valentine, a shady record producer, is a creepy man. He is heard telling Ad Hara (Heinle), his latest romance, that he remembers when she was born and telling her parents to name her after the stars. Despite claiming Jenny’s death was an accident, Wilson is sure that Valentine is behind it all.
The story sets the stage for a final battle between Wilson and Valentine; however, the unorthodox narrative editing style, though good for keeping the audience engaged, ultimately keeps the story from building to a satisfying conclusion. This approach muddles the traditional three-act narrative and keeps the story on a relatively even pace from start to finish. Though set for a big conclusion, many viewers will likely find the ending unsatisfying and forgettable.
Admittedly, the story and the flow make much more sense with a second viewing. Re-watching helps to sort everything out clearly for viewers. The movie is also far funnier the second time through. If, as a viewer, you’re focused on trying to pay attention and sort out the story, much of the humor may not resonate at first due to the quick delivery.
Overall, The Limey takes a rather simple storyline – man seeks revenge for the death of a loved one – and tells the story in a unique way. Though the non-linear story editing style requires viewers to stay engaged and attentive, it ultimately keeps the pace too steady and prevents it from reaching a satisfying ending to the story. However, the movie does a nice job incorporating character-informing music selections and footage from the 1967 film Poor Cow to help round out its lead characters. All in all, The Limey is definitely worth watching at least once, especially for viewers who appreciate unusual or different ways of telling a story.
Is There a Scene After the Credits?
No.
