8. The End
A cleansing fall of snow drifts down, Carter Burwell’s piano tinkles, and Ray narrates his final monologue – half apology to the mother of the little boy he killed, half diatribe against Bruges. The idea that this quiet town is Ray’s personal purgatory that he’ll never be able to leave is cemented.
Given this is a film about purgatory and the inbetweeny bits, the ambiguous nature of the end feels right. We are left with just enough hope that Ray might survive, that he might have seen the error of his ways, that he could be redeemed. His extensive injuries and use of the past tense make us think perhaps not. Perhaps judgement has been delivered after all.
7. “You Heet the Canadian.”
Ken has bundled Ray onto a train and accepted that he alone will face Harry’s wrath. Ray is saved. Or so we think.
Not long after pulling out of the station, Ray is arrested.
‘We’re taking you back to Bruges,’ the policeman states. Colin Farrell’s exasperated ‘Brilliant!’ as he is frogmarched down the aisle is the starting pistol for the climactic act three.
6. Being Moody. Being Bad at Maths. Being Sad.
This is it, the inciting incident. Why they’re in Bruges, why Ray is plagued with sadness and doubt. Why Harry is so furious.
It’s a testament to the film that even after witnessing the heinousness of Ray’s crime he is still somehow the hero, or at least a charming anti-hero.
This scene is clear and concise exposition. It’s poignant and devastatingly sad.
Recommended for you: “Movies I’ve Had a Religious/Spiritual Experience with” – In Bruges