THE CROW (1994). Excels in nearly every aspect

On March 31, 1993, Brandon Lee, the only son of Bruce Lee, tragically died. The incident occurred on the set of the film “The Crow”, directed by Alex Proyas. Although the event was ruled an accident and the actor responsible, Michael Massee, was deemed not guilty of causing the death, conspiracy theories about Triad revenge against Brandon’s father resurfaced immediately. Further fueling suspicion was the eerie similarity between the young actor’s fate and that of the character he portrayed—Eric Draven, a rock band leader, dies on the eve of his wedding to Shelley Webster. Brandon Lee had planned his own wedding with Eliza Hutton for April 1993.

The film was completed because the scene in which Eric dies was filmed toward the end of production, just a week before it wrapped. The missing segments were filled in using digital technology. To this day, it’s unclear whether the shot seen in the early scenes of the film is the same one that killed Brandon Lee, or if it was reshot. “The Crow” ends with a dedication—to Brandon and Eliza (Hutton).

This tragedy permanently marked “The Crow” in the memories of viewers and in numerous analyses, with references to it appearing in almost every piece about the film. Yet the movie deserves to be remembered for more than just this.

Alex Proyas’ film, based on James O’Barr’s comic, tells the story of a young man who returns from the grave to exact revenge on the rapists and murderers of his fiancée. Eric Draven and Shelley Webster planned to get married on Halloween. The night before the holiday, a series of fires breaks out in their city, and the criminal underworld celebrates the so-called Devil’s Night. During such festivities, T-Bird’s gang breaks into the couple’s apartment, brutally rapes Shelley, and kills Eric. Shelley dies in the hospital from her injuries. A year later, Eric returns and takes revenge on the gang, eliminating its members one by one. The story is both romantic and tragic—because, despite the sweetness of revenge, it cannot bring the victims back to life.

“The Crow” excels in nearly every aspect. The atmosphere is heavy, depressive, even—one might say—dark, though that word has taken on a somewhat humorous tone lately. Most scenes are shot in gloomy rain, at night, in smoky clubs, shadowy rooms, dingy holes, and seedy bars. The protagonist, dressed in black, with demonic makeup on his face, a guitar by his side, and a crow on his shoulder, embodies a punk rock romantic with a tortured soul. The soundtrack features bands like Nine Inch Nails, Rage Against the Machine, and The Cure. In contrast to all this are brief flashbacks of Eric and Shelley’s life—bathed in the warm glow of candles, happy, smiling young people in the bloom of their love. These memory glimpses further highlight the grayness, sorrow, and anger of the present day.

Brandon Lee is phenomenal as Eric—and unfortunately, we will never know if this was the peak of his abilities. “The Crow” was supposed to be his ticket out of action movies, the genre he had mostly been known for. Some viewers recognized him from films like “Rapid Fire” and “Showdown in Little Tokyo”, but this was a relatively narrow audience. “The Crow” was to be the gateway that led him to new challenges, and it must be said, Lee excelled. His Draven is wild and cruel (Eric’s laughter after falling from a rooftop right before his fight with Tin-Tin can easily compete with any Joker’s…), but at the same time, he’s tender and sensitive (in scenes with Sarah, the girl who befriended Shelley, or with Albrecht, the cop who handled the couple’s murder case). A powerful scene is when Eric makes Sarah’s mother, Darla, realize the harm she’s causing her daughter with her lifestyle. It’s a great loss that Lee wasn’t able to star in the planned sequels.

Michael Wincott also deserves praise for his role as Top Dollar, the kingpin of all criminals. A typical villain with a recognizable raspy voice, Wincott plays a character who, bored with the criminal underworld, sees Draven not only as a problem to solve but also—paradoxically—as a source of new energy. Top Dollar appreciates Eric as a worthy adversary, and Wincott is able to convey this. The right actor for the right role.

The weakest point of “The Crow” after all these years is Bai Ling’s portrayal of Myca. The supposedly demonic lover of Top Dollar now seems laughable with her outfits, poses, and mannerisms. Eye-gouging young women, fire-engine red lipstick, and latex outfits have gone out of fashion and now feel tacky. However, it’s important to remember that the ’90s had different standards. Even in her slightly comedic form, Myca fits well into the overall tone of the film.

For many, “The Crow” remains a cult classic. Opinions differ on whether it would have achieved this status if Brandon Lee had not been shot on set. However, I agree with those who argue that even without the tragic context, the film, which so perfectly captures the spirit of the punk rock ’90s, would have earned that title. It’s simply too good—even after twenty years—to be forgotten or remembered only for the shocking death of a young man.