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Reviews
Rumble Fish (1983)
the meaning behind the style
so i've just re-watched rumble fish and i've come to some observations. some are a little latent and some rather more ostensible.
so, the rumble fish are a metaphor for the hoodlums, the street gangs: they are inherently violent. however like the rumble fish, the inherent violence is engendered by the close proximity by which they must exist. ergo they fight. and they'll even fight themselves when faced with their own reflection. this is shown to us by the motorcycle boy in the pet store with the mirror and by rusty james seeing his reflection in the cop car window and punching it through after the death of his brother. these are the only times we see colour in the otherwise monochrome expressionist photography; the fish and the closing sequences.
motorcycle boy has seen the futility and vacuous pretentiousness of the street life and has chosen to 'free' into the river the fish/brother/gang scene by leading again but this time through passive introspection as opposed to violence. and given this rusty james is free to follow his brother down the river and free himself riding his brother's coat tails; another metaphor of the motorcycle, they are now free. More obvious symbolism is when motorcycle boy takes his brother on the bike, his brother hanging on for the ride, dodging cars and jumping lights.
'i hate our neighbourhood. there is no colour' says rusty james in the streets after the carnival. the carnival is expression and freedom, his usual stomping ground is enclosed and restricted.
something interesting is that rusty james claims not to like being alone. this seems to clash with the rumble fish freedom explanation i've previously suggested but then motorcycle boy recounts a story of why rusty fears being alone that has something to do with a negative fear response from childhood insecurity brought about by his mother's neglect, so this can be explained by being maladjusted and not a true reflection of the leader aspect of the street hoodlum with aspirations of making a name for themselves. this is why rusty james is represented as a simple and frustrated character, and also why motorcycle boy is dulled in hearing and sight due to his over exposure to the realities of street living. like dennis hopper, the father, says in the bar scene 'an acute sense of perception doesn't mean you're crazy, but it can drive you crazy.'
also the timelessness of the film's period is indicative of the hopelessness and grinding relentlessness of the film's semantics. note rusty and motorcycle boy leaning on a handless clock face, the '50s wardrobe and café but the '80s motorcycle and video game, the time lapse photography, the references to time from certain peripheral characters.
this film will remain underrated and of cult appeal and long may that remain. it seems to fit with the film's message anyway, not belonging, outmoded, super sexy and cool. and has mickey rourke ever looked better? his greatest performance for me will always remain as henry chinaski in barfly, but for understatement and dashingly good looks this is his finest image.
Georgia (1995)
sibling rivalry, desperation and rock&roll
Georgia is a stark and harrowing exposition into the relationship of two sisters, Sadie played by Jennifer Jason Leigh and the eponymous Georgia played by Mare Winningham (best supporting actress nominee 1996). The film follows Sadie, a young woman trapped within her envy and aspirations to achieve the success, and more importantly recognition, of her older sister Georgia, a revered folk and country singer in the pacific north west of America. In her pursuit of these desires however, she tears at her tenuous relationship with her sister and all those around her. It seems only her contagious beauty and vulnerability keep the people she hurts close to her, as we follow her through smoky clubs and bars, cheap motels and onwards into oblivion.
Georgia is often a trying film on the viewer, as its director, the Belgium born Ulu Grosbard pushes mainstream codes of cinematic language, and at the same time, deals with a central character who is often caustic, abrasive and unredeeming. That said, Jennifer Jason Leigh's visceral portrayal of Sadie Flood is utterly compelling and inspired. Indeed, her performance truly brings alive a disaffected character wrought by insecurity, isolation, depression and self-loathing; all culminating in an itinerant and bohemian lifestyle of club singing, alcoholism, heroin addiction and disillusionment.
Worthy of note also are the stellar performances of the support cast, notably Georgia's loving husband played by Ted Levine, Sadie's doting and tortured partner played by Max Perlich and Herman the drug-addled band-mate of Sadie's, performed by the ubiquitous character actor John C Reilly. Another great feature of this film is the soundtrack, and in many ways this film could be considered a musical. Contributions come from Van Morrison, Lou Reed, Elvis Costello, Eric Clapton, Tom Waits and Otis Redding, many of whom were active in the music to the film. John Doe and the late Jimmy Witherspoon for example, both acclaimed recording artists in their own right, act and sing in the film. Indicative of the soundtrack's integral contribution to the overall film, please note the cover of 'this magical place is more than it seems' from the Wizard of Oz score, as Sadie more so than anything wants to click her heels together and get back to the old house, back home.
In summation, this film will appeal to people who drink too much, people who tell me that it's a sin to know and feel too much within, which according to Bob Dylan many claim to live by and i concur; those with a penchant for '90s Seattle, rock and roll and dark character studies into alcoholism, thwarted ambition and pervasive despair.