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Spalding Gray sits behind a desk throughout the entire film and recounts his exploits and chance encounters while playing a minor role in the film 'The Killing Fields'. At the same time, he gives a background to the events occurring in Cambodia at the time the film was set. Written by
Peter Goldsack <firstname.lastname@example.org>
Then out comes the banana! And she takes a few lame shots like the Russian rockets that are going to sputter and pop and land in our cornfields. And for the finale she aims her vagina down the main isle like a great cannon, loads it with a very ripe banana, and - Thump! - fires it. Almost hits me in the eye, almost hits an Australian housewife in the head, hits the back wall and sticks! And slowly it inches its way down until it - Plump! - lands and is devoured instantly by an army of giant ...
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Spalding Gray calls his version of performance art a "talking cure." The facts, opinions, insights, fears and hopes drawn from the epiphany he received from his experiences in the Asian Rim shooting "The Killing Fields" and his education of the plight of the Cambodian people circa early to mid seventies is overwhelming. This is a story of the human condition as told by a master. He is Dr. Frankenstein creating the monster that is ourselves through a tapestry of wordplay that never seems overwrought or cumbersome in the slightest. This movie is one man reading from a standard notebook, behind a plain table accented with a glass of water and shadowed by a ceiling fan and selection of maps. Demme's use of lighting and Laurie Anderson's soundtrack provide all the dramatic power needed to sustain Gray as he literally helps us all better understand life, humanity and our responsibilities to each other while we spend time on this planet. Intense, funny, heartbreaking and invigorating; this movie inspires and changes all who watch it.
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