Leaving Las Vegas

Ben Sanderson is an alcoholic Hollywood screenwriter who has lost his job, family, and friends. With nothing left to live for and a sizable severance check from his boss, he heads to Las Vegas to drink himself to death. One early morning, he drives drunkenly from his Los Angeles home down to the Las Vegas Strip; he nearly hits a woman, Sera, on the crosswalk. She chastises him and walks away.

Sera is a prostitute working for abusive Latvian pimp Yuri Butsov. Polish mobsters are after Yuri, so he ends his relationship with Sera for fear that the Poles may hurt her. On his second day in Las Vegas, Ben looks for Sera, introduces himself, and offers her $500 to come to his room for an hour. Sera agrees, but Ben does not want sex. Instead, they talk and develop a rapport; Sera invites Ben to move into her apartment. Ben instructs Sera never to ask him to stop drinking. Ben says he will not criticize her occupation, and she thanks him.

At first, the pair are happy but soon become frustrated with the other's behavior. Sera begs Ben to see a doctor, which he refuses to do. While Sera is working, Ben goes to a casino and returns with another prostitute. Sera returns to find them in her bed and throws Ben out. Shortly afterward, Sera is approached by three college students at the Excalibur Hotel and Casino. She initially rejects their offer by stating that she only "dates" one at a time but eventually acquiesces when offered an increased price. When she enters their hotel room, the students change the deal and demand anal sex, which she refuses. When she attempts to leave, they violently gang-rape her.

The following day, after Sera's landlady sees her bruised, she tells Sera to leave by the end of the week. Sera receives a call from Ben, who is on his deathbed. Sera visits Ben, the two make love, and he dies shortly thereafter. Later, Sera explains to her therapist that she accepted Ben for who he was and loved him.

Mike Figgis based Leaving Las Vegas on a 1990 autobiographical novel by John O'Brien, who died by suicide in April 1994, shortly after finding out his novel was being used as the basis for a film.^[7][8] Despite basing most of his screenplay on O'Brien's novel, Figgis spoke of a personal attachment with the novel, stating "Anything I would do would be because I had a sympathetic feeling towards it. That's why I did Mr. Jones, because I think manic-depression is a fascinating, sad, and amazing phenomenon. It's not a coincidence that some of the greatest artists have been manic-depressives. That made it, to me, a fascinating subject that, alas, did not come out in the film."^[9]

Figgis encouraged the lead actors to experience their characters' ordeals first-hand by extensive research. He told Film Critic: "It was just a week and a half of rehearsal. A lot of conversations. A lot of communication in the year before we made the film. Reading the book. I encouraged them [Cage and Shue] to do their own research, which they wanted to do anyway, and then ultimately the three of us got together and just started talking...talking about anything, not necessarily about the film or the script, about anything that came up."^[9] Cage did research by binge drinking in Dublin for two weeks and had a friend videotape him so he could study his speech. He also visited hospitalized chronic alcoholics.^[10] He said "it was one of the most enjoyable pieces of research I've ever had to do for a part."^[10] Shue spent time interviewing several Las Vegas prostitutes.^[11]

The limited budget dictated the production and Figgis ended up filming in super 16mm and composing his own score.^[6][12] He said "We didn't have any money, and we weren't pretending to be something we weren't. We couldn't shut down The Strip to shoot".^[9] Cage recounted that he found the use of 16mm liberating as an actor stating in a 1995 interview with Roger Ebert:

"As an actor, having a 16-mm. camera in my face was liberating because it's much smaller, so you don't feel as intimidated by it. It catches those little nuances. Because as soon as that big camera's in your face, you tense up a little bit. Film acting is a learning experience about how to get over that, but I don't know that you ever really do."^[6]

Figgis had problems because permits were not issued for some street scenes.^[13] This caused him to film some scenes on the Las Vegas strip in one take to avoid the police, which Figgis said benefited production and the authenticity of the acting, remarking "I've always hated the convention of shooting on a street, and then having to stop the traffic, and then having to tell the actors, 'Well, there's meant to be traffic here, so you're going to have to shout.' And they're shouting, but it's quiet and they feel really stupid, because it's unnatural. You put them up against a couple of trucks, with it all happening around them, and their voices become great".^[9][13] Filming took place over 28 days during the autumn of 1994.^[14][15]

Leaving Las Vegas had a limited release on October 27, 1995.^[14] As it won awards from multiple film critics’ organizations and earned four Academy Award nominations, the film's release was expanded and it ultimately opened nationwide on February 9, 1996.^[11][16][17] United Artists distributed the film in North America, while RCV Film Distribution and Atalanta Filmes handled the European release, and 21st Century Film Corporation distributed the film in Australia. MGM/UA reportedly spent less than $2 million marketing the film, which included TV spots and ads in industry publications.^[14]

The film was a success at the box office, particularly considering its budget, grossing $49.8 million.^[3]

On Rotten Tomatoes, the film received an approval rating of 91% based on 53 reviews, with an average rating of 7.7/10. The website's critical consensus reads, "Oscar-awarded Nicolas Cage finds humanity in his character as it bleeds away in this no frills, exhilaratingly dark portrait of destruction."^[18] It also holds a score of 82 out of 100 on Metacritic, based on 23 critics, indicating "universal acclaim".^[19]

Roger Ebert from Chicago Sun-Times and Rick Groen from The Globe and Mail gave the film high marks.^[20] Ebert wrote, "If there are two unplayable roles in the stock repertory, they are the drunk and the whore with a heart of gold. Cage and Shue make these cliches into unforgettable people."^[21] Ebert named the film "best of 1995", and would eventually rank it as the eighth best film of the 1990s.^[22]

Leonard Klady from Variety wrote Leaving Las Vegas was "certainly among a scant handful of films that have taken an unflinching view of dependency."^[23]

Video cassettes and DVD of the film were distributed by MGM Home Entertainment.^[40] The video cassettes were distributed on November 12, 1996 in two languages, English and Russian, while the DVD was distributed on January 1, 1998 in English for USA and Canada. Australian and UK editions later were released.^[41][42] The DVD contains a supplemental "Hidden Page" menu feature.^[43]

The film was also released on Blu-ray, HD DVD, and LaserDisc.^[44]

A soundtrack album, consisting mainly of film score composed and performed by Mike Figgis, was released November 7, 1995.^[45] The soundtrack also included three jazz standards performed by Sting and excerpts of dialogue from the film. A version of "Lonely Teardrops" performed by Michael McDonald that features in the film is not included.

• List of films set in Las Vegas

• Litch, Mary M. (2010) [1st ed. 2002]. "9. EXISTENTIALISM – The Seventh Seal (1957), Crimes and Misdemeanors (1988), and Leaving Las Vegas (1995) [pp. 209–226]". Philosophy Through Film (2nd ed.). London: Routledge. ISBN 978-0415938754.

• Leaving Las Vegas at IMDb
• Leaving Las Vegas at the TCM Movie Database
• Leaving Las Vegas at AllMovie
• Leaving Las Vegas at Rotten Tomatoes