Over the past years, Edward Berger has steadily developed a name for himself. The success of All Quiet on the Western Front proved that he was able to create art, while Conclave demonstrated his capacity to deal with tense situations. Now he has decided to do a take on the gambling industry with his new work called Ballad of a Small Player. In this film, Colin Farrell plays a man who is losing his life one baccarat game at a time. However, this cannot be called an action-packed gambling movie. On the contrary, this movie is slower in its pace, darker in its mood and focuses more on the character of the man rather than on the gambling activities.
The plot revolves around Lord Doyle, a gambler in Macau, who’s accumulating debts everywhere and trying to stay one step ahead of the collectors. He has ruined various relationships, taken loans from everyone who has been willing to give him money, and is still convinced that he will win at last. Of course, things don’t work out like that.
Along the way he crosses paths with Dao Ming, a casino employee who becomes unexpectedly involved in his increasingly messy life, which is certainly not one would expect to find when playing in any reputable venue or live casino games online, for that matter. Tilda Swinton plays Cynthia Blithe, a mysterious investigator tracking Doyle’s every move. As the pressure mounts, Doyle is forced to confront not only his creditors but the uncomfortable truth that he’s become his own worst enemy.
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The gambling itself almost feels secondary. Yes, there are elegant baccarat tables, towering casinos and plenty of moments where fortunes could change in an instant, but Berger is far more interested in addiction, denial and the lies people tell themselves when they’re convinced the next spin, card or roll will somehow put everything right.
Where Ballad of a Small Player truly shines is visually. Every casino shines brightly beneath its neon, reflections glimmer on polished floors, and monumental buildings remind Doyle of his insignificance. Berger almost fills every shot with bold imagery, enough to make you think that you’re looking at a series of carefully taken photographs and not a film. Occasionally you become absorbed by the visuals instead of the plot.
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Colin Farrell is equally impressive. Doyle’s not a likeable chap, superficially charming, vile, hapless, and relentlessly annoying all at the same time, but Farrell somehow keeps him strangely sympathetic and you always see enough of what’s going on beneath the surface to allow you to appreciate his situation.
Nevertheless, the film isn’t devoid of flaws. At about two-thirds of the way in, the film loses its pace, and the plot begins to circle endlessly until a sudden and not very convincing change of heart from Doyle wraps it all up.
Some viewers might believe that Berger’s directing is over-sophisticated. Each shot appears focused on getting admiration, and every musical piece communicates a certain emotion, with the consequence of making the viewer think that director got carried away. The pictures are nice enough, but the visual beauty will never be enough in itself to bring about a successful conclusion.
But if you enjoy thoughtful character studies wrapped in stunning visuals and anchored by another excellent Colin Farrell performance, there’s plenty here to admire. It may stumble before the finish line, but the journey remains fascinating enough to recommend.