| Cast overview, first billed only: | |||
| Gael García Bernal | ... |
Elvis
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| Derek Weston | ... |
Scoot
(as Derek Alvarado)
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E. Matthew Buckley | ... |
Deck Officer
(as Matthew Buckley)
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| Monica Peña | ... |
Brothel Manager
(as Monica Pena)
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Veronica Bernal | ... |
Elvis's Girl
|
| Billy Joe Martinez | ... |
Mexican Salesman
|
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| Mohammad Ahmed | ... |
Mr. Chopra
|
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| Pell James | ... |
Malerie
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Sally Allen | ... |
PA
|
| Paul Dano | ... |
Paul Sandow
|
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| Laura Harring | ... |
Twyla
|
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| William Hurt | ... |
David
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Roger Kunshick | ... |
Young Man with Flower
|
|
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Ike Reilly | ... |
Rum Jungle Singer
|
| Milo Addica | ... |
Bruno
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A motiveless malignancy? Elvis leaves the Navy and heads for Texas where he contacts his father, whom he's never met, the pastor at a Christian community church. Pastor Dave tells Elvis to stay away and, without telling his family that Elvis is his son from a pre-conversion liaison, tells them to have nothing to do with him. But Elvis has already connected with Malerie, the pastor's 16-year old daughter. Elvis embarks on the seduction of Malerie, while Dave examines his conscience and comes to a new conclusion. Can anyone get right with the Lord? Does the Lord hear? Written by <jhailey@hotmail.com>
This film has gained a bit of stick from advance audiences, and the writers faced some hostile questioning following the screening I attended at the London Film Festival. I am frankly bemused as to why. I feel that, at worst, this is a solid and compelling indie flick and, at best, it has some important and lasting points to make about American identity, the nature of sin and the power of faith. My personal opinion is that many of those who see it are offended by either the film's refusal to judge the evil of it's main protagonist (played ever-perfectly by Gael Garcia Bernal), the portrayal of Latino as killer, the perceived failure to criticise the tee-total, creationist excesses of the Bible Belt, or a combination of the above. After all, southern-style Christianity is about as popular as Nazism right now among the arty set. I would prefer to view the film as what it is - an open-ended tragedy refusing to answer its own questions for the audience. I have thought of it frequently in the days since.