White Lightnin'

I was born, raised and still live in West Virginia, so the lore of Jesco White was always within earshot. Knowing the stories, whether true or tall tale, I was hesitant to watch this film. Once it began, I knew I would enjoy the film, I just didn't realize how much.

Most of the stories I have heard about Jesco are from his later years, so it was refreshing and new to see a story about his childhood. I learned a lot about a person I thought I knew everything about.

The reason this film is amazing is Edward Hogg. For a British actor to take on the roll of a southern West Virginian AND to do it so convincingly, is proof of Edward's talents.

I was mesmerized by his portrayal of a man that is the personification of a terrible stereotype of West Virginians. Edward had the ability to make me feel something other than disgust for Jesco.

Besides the acting, the cinematography was excellent. I loved the desaturation of the film, where everything was almost completely black and white, but had a hint of color.

I would recommend this to anyone that wants to explore the human condition and to see deeper inside the life of a "white trash" man.

White lightnin' is a work which exudes originality. That first and foremost must be said from this reviewer who is personally tired of the vapid humdrum which is usually churned out by Hollywood on a regular basis. Watching this film, I felt contented that there are still filmmakers out there who display boundary pushing ingenuity in there craft and who are not afraid to disturb the living hell out of you. Dominic Murphy has showed that he is one such director capable of telling you gut wrenching stories without descending into the usual path of incoherence in which so many of these types of films do. White Lightnin' is a film in which the plot never once lost focus of telling the story of the mountain dancing, gas huffing Jesco White. And while the violence, as my previous reviewer noted, is gratuitous and revolting, I never once felt it was incongruous or irrelevant with the story trying to be told. It is also of importance to note that viewing WL is like peering through a window into the destitute "white trash" culture of the poverty-stricken Appalachia. A way of life not assiduously examined through the medium of film. This in part presents the film with a particular boldness that was exhilarating to view.

I was very surprised by this film's quality. The directing was very well done. The aesthetic reminded me of a 90's music video, maybe Nirvana.

The edit was expertly put together. There was never a dull moment in this film. The music was layered in nicely and heightened the tension in a good way.

The acting from Edward Hogg left a lot to be desired in my opinion. It's not that he performed badly, it was a good performance of some character, but that character wasn't the embodiment of Jesco White. A Brit shouldn't have been selected for this role. They don't get the inherent hopeful humor even the darkest of us in the USA have. Brits are typically too cynical.

Jesco was way too serious in this film, even as a child. A big part of what makes Jesco cool is his nonchalant attitude. Sure, I think there is part of him that was like Hogg's rendition. I just think the character that Hogg portrayed was two dimensional. There was probably something within him that was frightened by Jesco White to fully embrace his character. In that fear he acted out what scared him of Jesco. His violence, his intensity...but where was his humor? Where was his softer side? Even when he's talking about Cilla he seems more like Charlie Manson than Jesco.

I thought Carrie Fisher did a great job as Cilla. The rest of the cast was excellent too. Even Hogg brought something meaningful to life, but there's a difference between meaning and truth. Meaning is the treatment of a symptom, truth is when many meanings come together leading to pure health.

Werner Herzog is a believer in what he calls 'ecstatic truth', meaning one can fictionalise aspects of reality, in order to reach a deeper, more transcendent level of truth, going beyond 100% factual accuracy. Director Dominic Murphy seems to embrace this idea, considering his debut feature 'White Lightnin.' Based on the life of notorious Mountain Dancer Jesco White, who has been the subject of numerous documentaries (notably Jacob Young's 'Dancing Outlaw' and Julien Nitzberg's 'The Wild and Wonderful Whites of West Virginia'), Murphy's film is not a traditional biopic.

It does not accurately retell White's story, though captures the essence of the man. An absorbing watch, it follows White through his tumultuous childhood years, his time in an asylum and violent life in the Appalachian Mountains. A brilliant dancer, Murphy's White is driven by revenge, while battling drug addiction and psychosis.

Gritty and intense, the film paints a stark picture of addiction and poverty, casting a light over the dark side of life. It is unremitting in its depiction of the harsh realities faced by those living on the fringes of society. The unfiltered portrayal of White's struggles with substance abuse and mental illness is both harrowing and poignant. Furthermore, Murphy's version of the Deep South is a grimy place, teeming with violence and despair.

However, despite its bleakness, the film's authenticity and emotional depth makes for a compelling narrative. Murphy, Eddy Moretti and Shane Smith's screenplay is well crafted, blending raw dialogue with moments of unexpected tenderness. The script delves deep into the psyche of White, offering a nuanced portrayal that goes beyond mere caricature. Like Herzog, they reach a level of ecstatic truth; their fiction revealing a reality that transcends mere factual accuracy.

Murphy and cinematographer Tim Maurice-Jones utilise a muted colour pallet, emphasising the grimness of the narrative. The desaturated hues mirror the bleakness of White's existence, creating a visual metaphor for his internal struggles. This visual style, combined with the film's rough, unflinching storytelling, immerses one in a world where hope is a rare commodity. Moreover, during violent and drug fuelled moments, the cinematography becomes frenetic and disorienting.

In these moments, the camera work mirrors the chaos and instability of White's mind, with rapid cuts and shaky movements heightening the sense of urgency and confusion. This technique makes the scenes of violence and addiction all the more visceral. Further, Ivo Husnjak's grubby production design brings to life Murphy's version of Appalachia, in all its filthy glory. Nick Zinner's score- and the eclectic soundtrack- complements the film's gritty aesthetic perfectly. The music ranges from hauntingly atmospheric to jarringly intense, reflecting the tumultuous journey of Jesco White.

Edward Hogg stars as White, delivering a startlingly intense performance marked by a raw energy. He captures White's inner turmoil and descent into madness devastatingly, particularly through his physicality in the dance sequences. Hogg excels not only in intense, emotional scenes but also in quieter, introspective moments, offering glimpses of White's vulnerability. His nuanced portrayal allows one to empathize with White, despite his violent, erratic behaviour.

Carrie Fisher co-stars as Cilla, White's girlfriend, bringing a grounded presence to the film. Fisher's performance adds depth to the narrative, providing a counterbalance to White's chaotic life. Her portrayal of Cilla is both tender and resilient, capturing the complexities of loving someone as troubled as Jesco White.

Moreover, Owen Campbell, as the younger White, gives a strong performance, setting the stage for the character's later turmoil. Muse Watson brings a powerful presence to the role of D. Ray White, Jesco's father, the legendary mountain dancer. His portrayal adds depth to the father-son dynamic, highlighting the influence D. Ray had on Jesco's life. Additionally, Kirk Bovill is perfect as the seedy character Long; his performance adding to the film's tension and atmosphere.

In short, Dominic Murphy's 'White Lightnin' may not accurately retell the life of Jesco White, but in capturing the essence of the man, is a captivating story of violence and addiction. Well-written and featuring striking cinematography, it is an affecting piece of work. Star Edward Hogg delivers an intense performance, while Carrie Fisher is similarly good. It is well worth a watch, and an electrifying example of ecstatic truth.

I'm not familiar with the true story of Jesco White. (But I will be soon.) On viewing the film, I was happy with the portrayal of the dark side of life in the backwoods of Appalachia. Not knowing the true story didn't ruin things for me, and I truly enjoyed the film.

But...

If you're going to do a lot of research about Southern Appalachia and try to make the film as true to life as possible, it's unforgivable that Jesse repeatedly refers to one person as "y'all." Y'all is ALWAYS plural, and is only used when talking to more than one person.

For instance:

When Jesse talks to the fat man about his tattoos, he calls the man "y'all." No matter how fat a guy is, he's still one person. Jesse should call him "you."

When Jesse is talking to his dead father in heaven, he actually calls his father "y'all!" Best I can recollect, the man has/had ONE father.

This issue probably does not bother non-natives much, but it made me disrespectful of this director's work. Too bad the chosen film location was in Croatia. There was nobody around to correct this glaring error.

Hope y'all enjoy this here review.