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Gummo (1997) More at IMDbPro »

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Gummo -- Lonely residents of a tornado-stricken Ohio town wander the deserted landscape trying to fulfill their boring, nihilistic lives.


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6.7/10   24,625 votes »
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Up 3% in popularity this week. See why on IMDbPro.
Harmony Korine (written by)
View company contact information for Gummo on IMDbPro.
Release Date:
24 November 1997 (Australia) See more »
Prepare to visit a town you'd never want to call home. See more »
Lonely residents of a tornado-stricken Ohio town wander the deserted landscape trying to fulfill their boring, nihilistic lives. Full summary » | Add synopsis »
Plot Keywords:
4 wins & 2 nominations See more »
User Reviews:
I wanted to hate it, but I ended up loving it. See more (401 total) »


  (in credits order) (verified as complete)

Jacob Sewell ... Bunny Boy
Nick Sutton ... Tummler
Lara Tosh ... Girl in Car

Jacob Reynolds ... Solomon
Darby Dougherty ... Darby

Chloë Sevigny ... Dot (as Chloe Sevigny)
Carisa Glucksman ... Helen
Jason Guzak ... Skinhead #1
Casey Guzak ... Skinhead #2
Wendall Carr ... Huntz
James Lawhorn ... Cowboy #1
James Glass ... Cowboy #2
Ellen M. Smith ... Ellen
Charles Matthew Coatney ... Eddie

Harmony Korine ... Boy on Couch
Bryant L. Crenshaw ... Midget
Daniel Martin ... Jarrod
Nathan Rutherford ... Karl

Max Perlich ... Cole
Bernadette Resha ... Cassidey
Linda Manz ... Solomon's Mother
Donna Brewster ... Albino Woman
James David Glass ... Tummler's Father
Mark Gonzales ... Chair Wrestler
Berniece M. Duvall ... Grandmother (as Berniece N. Duvall)
Kristi Faye Randolph ... Deaf Woman
William Dickinson ... Deaf Man
Bill Evans ... Bald Guy
Jeffery Baker ... Terry
James Baker ... Phelipo
Rose Shephard ... Woman in Bed

Directed by
Harmony Korine 
Writing credits
Harmony Korine (written by)

Produced by
Stephen Chin .... executive producer
Scott Macaulay .... co-producer
Robin O'Hara .... co-producer
Ruth Vitale .... executive producer
Cary Woods .... producer
Cinematography by
Jean-Yves Escoffier 
Film Editing by
Christopher Tellefsen 
Casting by
Lyn Richmond 
Production Design by
David Doernberg 
Art Direction by
Amy Beth Silver 
Set Decoration by
Amy Beth Silver 
Costume Design by
Chloë Sevigny 
Makeup Department
Mia Thoen .... makeup artist
Production Management
Sara King .... executive in charge of post-production
Kelly MacManus .... executive in charge of production
Lisa Rosenstein .... unit manager
Second Unit Director or Assistant Director
Angi Bones .... second assistant director (as Angelique Bones)
James Clauer .... second unit director
Randy Fletcher .... first assistant director
Art Department
George E. Boyd .... carpenter
Anthony Gasparro .... property master
Macon Murphree .... assistant props
Robert Owen .... carpenter
George R. Rabasca .... carpenter
Andrea Stanley .... assistant art director
Sound Department
Steve Borne .... sound designer
Bradford L. Hohle .... sound engineer: Dolby
Leo Madrazo .... foley artist
Brian Miksis .... sound mixer
Branka Mrkic .... dialogue editor
Aaron J. Rudelson .... boom operator (as Aaron Rudelson)
Reilly Steele .... re-recording mixer
Brian Vancho .... foley artist
Melissa Zaroff .... sound editor
Camera and Electrical Department
Bruce Birmelin .... still photographer
Brian 'Buzz' Buzzelli .... best boy grip (as Brian Buzzelli)
Geb Byers .... first assistant camera: 24 frame video
Suzanne Carter .... gaffer
Howard Davidson .... grip: 24 frame video
Christopher Di Croce .... company grip
Luke Eder .... additional assistant camera
Randall Falcon .... camera loader
Jay Feather .... additional assistant camera
Dave Fortino .... dolly grip (as David Fortino)
Jacques Jouffret .... Steadicam operator
Dean Mathers .... assistant key grip
Michelle McKinley .... first assistant camera
Dee Nichols .... key grip
Heather Norton .... second assistant camera: 24 frame video
Thomas Ostrowski .... gaffer: 24 frame video
Nathan Wilson .... second assistant camera
Casting Department
Nicole Hennessey .... casting associate
Kelley Sims .... casting assistant
Costume and Wardrobe Department
Paul Sevigny .... wardrobe assistant
Editorial Department
April Blair .... post-production assistant
Rodney Evans .... assistant editor
Chris Hinton .... colorist
Brent Kaviar .... post-production services
Fabian Marquez .... post-production coordinator
Craig Marsden .... assistant film editor
Misako Shimizu .... first assistant editor
Joe Violante .... dailies supervisor: Technicolor
Location Management
James Clauer .... location manager
Music Department
Tanja Crouch .... music licensing
Anne Kugler .... music consultant
Christopher S. Parker .... music clearance
Randall Poster .... music supervisor
Robin Urdang .... music coordinator
Transportation Department
Steve T. Goforth .... transportation coordinator
Other crew
Joshua Balog .... production assistant
Claire Best .... production executive
Sean Casey .... production assistant
Catherine Choi .... assistant: Independent Picture
Alex David .... assistant office coordinator: New York (as Alexander David)
Joshua Elrod .... production assistant
Lyle Gamm .... production assistant
Elizabeth Heeden .... film conformist
Susan Humphrey .... animal trainer
Michael Johnson .... production auditor
Molly Johnson .... assistant: Independent Picture
Ernie Karpeles .... animal coordinator
Jeff Kohr .... production assistant
James A. McCann II .... assistant production office coordinator
Tanoa Parks .... location auditor
Monika Petrillo .... script supervisor (as Monika von Manteuffel)
Alec Raffin .... assistant: Independent Picture
Lizzie Schwartz .... assistant: Independent Picture (as Elizabeth Schwartz)
Craig Seti .... video dailies supervisor: Magno Video
Joshua Michael Stevens .... production assistant (as Joshua Stevens)
Tiffany Thomas .... production assistant
Cordelia Wheelock .... assistant locations
Heidi Winston .... production coordinator
Felix .... with the support of
Liz Manne .... special thanks
Burt Reynolds .... special thanks

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
Rated R for pervasive depiction of anti-social behavior of juveniles,including violence, substance abuse,sexuality and language (edited for re-rating)
89 min
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Australia:R18+ | Canada:18A (Alberta) | Canada:14A (British Columbia) | Canada:R (Manitoba) | Canada:AA (Ontario) | Canada:16+ (Québec) | France:16 | Germany:16 | Iceland:16 | Japan:PG-12 | Mexico:B | New Zealand:R18 | Norway:18 | Portugal:M/16 | Spain:18 | Sweden:11 | UK:18 | USA:R (edited for re-rating)
Filming Locations:

Did You Know?

Jacob Reynolds (Solomon) was 13. Nick Sutton (Tummler) was 17. Jacob Sewell (Bunny Boy) was 14. And Darby Dougherty, who plays the youngest of the three sisters, was only 10.See more »
Continuity: The kid sitting next to Jared Wiggley's arm and head change positions between shots.See more »
[first lines]
Solomon:[voiceover] Xenia, Ohio. Xenia, Ohio. A few years ago, a tornado hit this place. It killed the people, left and right. Dogs died. Cats died. Houses were split open, and you could see necklaces hanging from branches of trees. People's legs and neck bones were sticking out...
See more »
Movie Connections:
Spoofed in Who's Calling? (2007)See more »
Mom and Dad's PussySee more »


Is Gummo based on a true story?
See more »
46 out of 57 people found the following review useful.
I wanted to hate it, but I ended up loving it., 16 April 2003
Author: SanTropez_Couch

I described "The Cook, The Thief, His Wife, and Her Lover" as part of the urine in a bucket movement of art. That's not quite fair -- Greenaway had an obvious craft, intelligence, and eye for stunning visual beauty. This film, however, is urine, with or without the bucket. Its makers would no doubt hide behind that mask of "realism," and that's fine. But does anyone who sees this movie come away with anything other than awfulness? That's what I asked myself about ten minutes into this film. Does the movie reveal great truths about us or the world in which we live? Maybe, though I'm not quite sure. If this movie has any value to the average moviegoer, that's it.

I'm sure that aspiring directors interested in cinema verite would gobble this up, as would the self-important proponents of the Dogme 95 movement. (Apparently, Korine's next film, which I have but haven't yet watched -- "Julien Donkey-Boy" -- is the first American film to use the Dogme 95 rules.)

I was ready to hate it. In fact, I wanted to hate it. I wanted to reject this as the bowel movement of some no-talent film graduate. But I couldn't, and I can't.

It's something like "Kids" (a film Korine wrote), or some other Larry Clark concoction. It's a hard-to-take movie that would probably anger most, intrigue some, and bore the rest. (I was angered only a few times, during the scenes of animal cruelty -- nothing gets me writhing in my seat quicker.)

The main idea or "story" here is just a stream-of-consciousness tracking of a number of white trash kids. The main character, Solomon, and the kid who plays him, Jacob Reynolds, is very interesting. It's a shame he hasn't been in anything since 1999, according to IMDb. The narrator, who to his/her credit (I never did figure out who it was) is only talking for a small amount of time, is extremely annoying. He/she is full of that fake out-of-breath gaspiness that sounds absolutely forced. It's the only part of the movie I really didn't like. (Well, I guess I could have done without the pretentious slow-mo.) There is no character or voice-over -- even that of the sometimes narrator -- to inform us about these characters. By the end of the movie, I knew some characters, briefly glimpsed others, and didn't quite know how they all fit together. This is a good thing.

Maybe I'm becoming desensitized to grossness (or maybe this movie exists in only grossness, making individual bits of it hard to identify from one another), but an early scene in the movie, where a mother and (I think) daughter are trying to make their chest seem bigger with tape is sort of sweet.

There is a lot of offensive, amoral stuff here: a girl describes, in a voice over, being molested/raped by her own father; the two main character boys sell dead cats to a grocer; Solomon, who looks about 13, and his older friend pay a man to sleep with an overweight, dimwitted girl in her dollhouse-like bedroom. There's also a sort of murder. ("Sort of" because...well, you'll see what I mean when you watch the movie.)

I wanted to keep watching. I wasn't repulsed by the movie, which early on seems to wallow in its own filthiness. Some people maybe waited for something profound to occur, to "legitimize" the film, a la "Breaking the Waves." Well, I'll tell you now that there isn't. And there doesn't need to be. This movie is like the enemy of another I liked, "Joe the King" about poor children. That film was like "The 400 Blows" times ten -- it had hope for something better. This movie has no hope -- it sees nothing wrong with itself.

There's a criticism people like Charles Taylor throw around about filmmakers like Korine, that their characters are inspected like bugs caught in a glass jar, heartlessly. The only scene in this film that felt that way to me was one where two skinhead brothers are fighting with each other in a kitchen. Aside from that, the movie, I thought, was very inviting. It's just up to you to accept the invitation.

However, Korine walked a fine line here. Obviously, attempting humor is always a good thing, but when you're dealing with characters and subject matter such as this it would be so very easy to mock your characters, and no doubt some people misinterpreted Korine's few honest jokes as just that. (Like one hilarious moment, with Solomon in a grungy bathtub filled with black water, where he's served supper on a platter by his mother. He takes a drink of milk and instantly pats his mouth to make sure he remains presentable.) Linda Manz, that wonderfully elliptical philosopher from "Days of Heaven" plays Solomon's mother, the eccentric tap dancing kind.

There's a scene (and that's all the movie is -- a serious of scenes) when two boys shoot another boy with toy guns that seems to represent the darkest side of America. The shot boy, wearing pink bunny ears on his head, lays on the ground, frail, looking like a strange version of Jesus. It just really got to me. Another scene where a boy and a black dwarf (or midget, I don't know the difference -- something about proportionality) are sitting on a couch, and the black guy says he's gay, and then the other boy comes on to him. It sounds like a really bad SNL sketch, but it's somehow touching.

A lot of these characters I just wanted to give a hug. However hard it is to believe, this film is, in the end, bursting at the seams with love. The rather obvious and wrong-headed claim is that all this movie does is try to shock and disgust. That's not true. It shows a vision of reality, as Korine sees it, and asks its audience to accept it. Very simple.

If I had to guess, I'd say about 75 % of mainstream moviegoers, including the most sophisticated film buffs, would strongly dislike this movie. And judging by the IMDb rating and general consensus by most of the reviewers here, I think I'm pretty close to being right. The hate and writing-off that movies like this get, ultimately, perplexes me. I mean, I figure that if a 17 year-old, relatively basic moviegoer like me can wrestle with a movie to see its faults and its triumphs, then anyone else should be able to do the same. (I loved reading one review of "Julien" where the reviewer told the readers what Korine's fans liked about his movies, as if they're a group of non-thinking drones.)

I don't know who my top filmmakers are right now (I'm so under-viewed with movies in general that it's sad), but Korine, with this film, has a special place.


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Recent Posts (updated daily)User
Ooh boy, I HATED this... fyfytj
Why did you decide to watch Gummo? jacob_sigo
Did Anyone Else Utterly Detest the Song at the Beginning? Bhoooop_Daahuut
Did anyone else only know of this film because of Harry Hill's TV Burp? cheerio-lauren
worst movie ever. basic_instinct
bathtub scene coolmode69
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