Cult Film: The Brown Bunny

Firstly, for those that doubt Vincent Gallo is a filmmaker worth taking seriously at all, I recommend his previous film, Buffalo 66. A much more accessible, though still unique film, it explores similar themes to The Brown Bunny. Namely, Vincent Gallo's trouble with women.

The Brown Bunny is, without doubt, not a film for everyone. The pacing is unlike that of virtually all films made in America, the only recent film I can name like this is Gus Van Sant's Gerry, with Matt Damon and Casey Affleck. Foreign filmmakers such as Abbas Kiarostami and Andrei Tarkovsky have also used this style, with many of their films now viewed as masterpieces of cinematic art.

My purpose here is not to say that those who dislike the film are simply "not smart enough" to understand it. The technique of 99% of films given a decent level of distribution today feed us a steady stream of information, with each scene abiding by a certain formula, in which a new piece of information is told to us and the hero is brought closer to or drawn away from a set goal. When so many films are seen that abide by this pattern a film such as The Brown Bunny, which uses an almost entirely different cinematic language, sticks out like a sore thumb.

We view the actions of the main character without being given any indication of his internal thoughts, and even the films final revelation does not adequately explain his reasons for behaving in such a way. Such a view of character is far closer to reality than any Hollywood film, in which characters motivations are always apparent to us. What is more important than his intentions is the way he feels, which is conveyed to the audience in a manner that is slow, but artistically satisfying. The music, editing, choice of shots, dialogue and performances in the film let this feeling wash over us at its own pace. But only if we are open to it.

The acting is also very different from Hollywood fare, as performers do not indicate their emotions in a transparent way. They behave in a style that is synchronous with that of the editing and action of the film, rather than attempting to behave in a realistic manner, or what we perceive as being realistic from expectations given to us by other films. Another reason many have rejected the film as nonsense.

It's easy to see the notorious final scene of the film as exploitative, especially if you haven't found yourself involved in the film up to this point. But Gallo is not out to exploit, in fact he has, as an artist who is responsible for virtually every aspect of the film, exposed to us a part of his psyche that very few filmmakers would dare show.

Classic Cinema: Mr Deeds Goes to Town

Frank Capra directs this comedy starring Gary Cooper and Jean Arthur that was remade into a predictably terrible Adam Sandler vehicle.

Cooper is stunningly good as the amiable Deeds, who hides a sharp intellect behind his "aw-shucks" personality. The naturally kind-hearted character is brought up against the systems of upperclass life as he is awarded twenty million dollars from a deceased, unknown uncle.

As he did in "It's A Wonderful Life", Capra creates deeply moving moments from the main characters' identity and ways of behaviour at first being questioned, then validated, and finally applauded. The final message of both of these films is the importance of maintaining our individual moral outlook and integrity, despite the inevitable pressure that arises from living without regard to conformity.

This doesn't mean Capra's goal in the film is to tell us "Do what you will and consequences be damned" but, following the pragmatic philosophy of Emerson and Thoreau (who Deeds quotes in one scene) to show us that when we act according to our inner nature, our moral nature independent of economic or social concerns, we will inevitably act in a way that is truly noble.

Deeds represents an ideal in both his imaginative and practical behaviour. His imaginative capabilities are displayed in a scene we're he visits the tomb of Ulysses S. Grant, a tomb we are told most Americans feel let down by, due to it's small size and modest construction. Deeds judges the building by the person it represents, rather than the superficial beauty of the tomb itself.

Such a position is commendable, but Capra shows the difficulty of converting this outlook into practical power. When Deeds strives to do what he see's as the right thing, he is exploited and finally seen as insane. Capra was here perhaps mirroring his own experience, having to create work that would need the approval of studio heads who held profit in higher regard than morality.

Despite it's old age and uplifting message, the film is never hokey and deserves to be seen.