I sat down today and watched both of the Sin City films. I’ve been a fan of the comic series ever since I bought a used paperback at ‘Bookman’s Buy-Sell-Trade’ superstore in Tucson when I was a freshmen in college. At the time, the rack was overstuffed with copies, and I nabbed mine for a measly ninety-nine cents. It was cheap enough that I didn’t find it sacrilege at all when I chopped it up and pasted individual frames into my sketchbook.
I was a comic collector since childhood – mostly X-Men titles – and had no idea what Sin City was about. I didn’t even read the book. I just sifted through the pages and appreciated the art. When it was adapted into a feature film, I started paying attention. It had the noir elements, the over-clocked one-liners, trench coats, and fedoras. It was black and white, self-referencing, darkly comedic, and playful. It was a perfect film specifically because it didn’t take itself too seriously – it was engineered to be pulp entertainment. It was designed to be fun.
Sin City was also a throw-away film. It appealed to a niche demographic, not turning too many heads. This is a disappointing revelation because the production was insanely innovative, inventing new film-making techniques that allowed the comic book to come to life. Of all the comic book movies that exist today, I can’t think of a project more true to the source material than Sin City. Most of the film was shot on green-screen, with the background environments inserted in post-production. The violence is stylized, and the black-and-white palette is used with intuitive brilliance.
The sequel, A Dame To Kill For, didn’t perform well at the box office. But it’s a fantastic voyage into the back alleys of Frank Miller’s fictitious city of crime and corruption. Think Gotham, only more fucked up. The vignetted stories are fun, dark, grimly humorous, and worth a look.