Elwood's Essentials #14 - Donnie Darko

Title: Donnie Darko

Director:  Richard Kelly
Released: 2001
Starring: Jake Gyllenhaal, Jena Malone, Drew Barrymore, Maggie Gyllenhaal, Mary McDonnell, Katharine Ross, Patrick Swayze, Noah Wyle, Holmes Osborne, Daveigh Chase, James Dubal, Beth Grant, Seth Rogen, Patience Cleveland, Jolene Purdy

Plot: Donnie Darko (Gyllenhaal) a complex teenager prones to bouts of sleep walking finds himself being given a prophetic warning by a mysterious figure called Frank in a demonic bunny costume that the world will end in 28 days, 6 hours, 42 minutes and 12 seconds.

Review: Unquestionably a key film in my personal film education as this is one of those films where I can still remember everything about that screening while at the same time putting it in a very exclusive club. More so few films have inspired these kinds of memories while Richard Kelly is still the only director to have two films like this. At the same time by the time this film had finished after that original screening I wanted to rush out and instantly discuss it with someone while perhaps knowing back then that this film was hardly the easiest premise to sell people on. Still originally destined for a direct to video release it was saved by Drew Barrymore’s production company “Flower Films” who enabled the film to have a theatrical release. However despite the film now having a large cult following it was initially a flop in the states only to find its audience in the UK much like Quentin Tarantino’s “Reservoir Dogs”. 

Despite being his debut film Kelly directs this film with a truely unique vision for the story he wants to tell while at the same time finding a perfect leading man for his psychologically complex hero in Jake Gyllenhaal who like his sister Maggie here appearing as Donnie’s sister Elizabeth was still an unknown at this point and through this film managed to finally find his breakout role. Infact looking at the cast while many have gone on to more mainstream roles at this point Patrick Swayze was probably the best known name on the cast, alongside Noah Wyle and Drew Barrymore but despite this there is really no member of the cast who doesn’t deliver on their characters

Donnie meanwhile is far from your traditional type of hero, which I guess is only fitting as this is anything but a traditional type of story. Here though Donnie is seen as having various issues in his life which his parents are attempting to resolve by sending him to counselling while at school he is seen as something of an oddball, not popular enough to be one of the cool kids yet not so unhip to be at the bottom of the social order which is no doubt one of the many reasons this film spoke to me back on that original screening. Throughout the film the closest Donnie gets to a friend are his two bumbling sidekick-of-sorts Ronald and Sean but the person who has the closest bond to him is his girlfriend Gretchen (Malone) who herself comes with her own set of issues having moved to town with her mother to escape her violent stepfather.

While Donnie and Gretchen’s relationship is a key part of the film it somehow never overshadows the main meat of the story which see’s Donnie exploring the principles and theories of time travel as he tries to figure out the mystery of Frank and the increasingly strange visions he finds himself beginning to suffer especially when his initial meeting with Frank saves him from being crushed under a stray jet engine which mysteriously crashes through his bedroom ceiling. At the same time though Kelly knows when to use Donnie and Gretchen’s relationship and when to push it to the background as he crafts a truly believable relationship between their characters while ensuring because of this groundwork that he lays that the final twist is suitably devastating.

While Donnie’s journey is one which is as gripping as it confusing, its one which is only made the more enjoyable by the catalogue of interesting characters he encounters over the course of the film from his effortless cool English teacher (Barrymore) whose class on Graham Greene’s short story “The Destructors” frequently seems to overshadow so many events of the film. Equally memorable is Patrick Swayze’s motivational speaker Jim Cunningham whose life philosophy based around life’s issues being categorised as being a result of love or fear is memorably torn apart by Donnie in the school assembly from hell.  Each of these supporting characters bringing their own small element to the story while never feeling like they are being included as a way to tie the story together.

The other key aspect of the film is unquestionably the soundtrack with the opening bike ride to Echo and the Bunnymen’s “The Killing Moon” perfectly setting the tone of the film, while at the same time now ensuring that its nigh impossible to think of anything else when you hear the song in much the same that “Stuck In The Middle” will thanks to Tarantino always bring back memories of “Reservoir Dogs” ear slicing sequence. Elsewhere Kelly manages equal success with his use of Tear for Fears “Head over Heels” and The Church’s “Under The Milky Way” while Gary Jules stripped down version of Tears for Fears “Mad World” hauntingly frames the final montage.

Unquestionably this is a truly unique debut film not only with its premise but also for its genre hoping antics as Kelly sees no issue in combining elements of time travel, surreal imagery and comedy alongside pop culture musing such as how a Smurf orgy would play out and somehow he manages to make it work. Yes this is certainly a strange and at time confusing journey which we are taken on, but at the same time it is an engrossing film and one which only continues to reward with repeat viewings.  At the same time the success of the film would see the film being given a director’s cut which ultimately serves to provide what I felt to be a dumbed down version of the film as additional footage only served to explain away more of the mystery which made the film so memorable to begin with, while Kelly changing out music for his original choices ironically fail to have the same impact as his original choices.

As important a film now as it was when it was released this film really has lost nothing despite being ever more of a cult favourite especially with pages of theories available online as we continue to try and figure out what exactly its all about (try pausing the film on Grandma Death's diary pages) while a misguided attempt to continue the story with "S. Darko" only further highlight just how key Richard Kelly was to making this world work, while his follow up "Southland Tales" continues to divide audiences even now. The real mystery though is why Kelly has still been unable to get his forth film made, especially when the likes of Eli Roth and M.Night Shyamalan can seemingly find funding for any half baked idea they can attach a hook to, making us only the more hungry to see where Kelly takes us next when he does return.

Elwood's Essentials #8: Paprika

Title: Paprika

Director: Satoshi Kon

Released: 2006

Starring: Megumi Hayashibara, Toru Furuya, Toru Emori, Katsunosuke Hori, Akio Otsuka, Koichi Yamadera

Plot: In the near future, a device called the “DC Mini” has been created which allows the user to view people’s dreams. Heading up this treatment is Doctor Atsuko Chiba who also uses the machine to further her research outside of the  facility under her alter-ego Paprika. However when the machine is stolen all hell looks set to break loose as the line between dreams and reality becomes increasingly blurred.

Review: It is always a sense of sadness which accompanies each of Satoshi Kon’s films I watch, especially when they equally serve as a reminder of the seemingly unlimited creativity he processed which due to his untimely death from Cancer would ultimately total four films while his fifth “Dreaming Machine” still lingers in production limbo despite the efforts of the founder of Animation studio “Madhouse” Masao Maruyama which have suffered due to lack of funding for the project. As his final film before his death this film does however provide a suitable closing note to an unquestionably impressive, if yet at the same time still underrated film making resume which has in turn inspired the likes of Darren Aronofsky who drew inspiration for “Black Swan” from “Perfect Blue” while this film in particular would prove a key inspiration for Christopher Nolan’s “Inception” which only becomes all the more clearer when you watch the film.

Originally intended to be the follow up to his debut “Perfect Blue” it would however be delayed when original distribution company Rex Entertainment went backrupt, leading Kon to make “Millennium Actress” instead. Thankfully the wait would prove to be worthwhile as her Kon is clearly working at the top of his ability as he combines dazzling visuals with complex plotting, while at the same time further exploring the synergy of dreams and reality a theme which run throughout most of his films as well as his series “Paranoia Agent” but here he puts it up front and centre.

Opening with a blustering dash through the various dreams of Detective Toshimi Konakawa (Otsuka) which play like a series of random movie clips and see him not only engaging in a spot of Tarzan action but also taking the lead in his own spy thriller before Kon suddenly snaps us back into reality or atleast one of the many forms it takes in this world, with Kon quickly following up this attention grabbing opening with the zany opening sequence which see’s Chiba switching between her alter-ego Paprika and her real form while Kon sprinkles even the supposed real world with fun surreal elements as colourful adverts suddenly come to life as she passes them.

 

Even in the real world it is still one packed with fascinating characters with certainly the most memorable having to be the monstrously obese and childlike genius Tokita who created the DC Mini and who when we first encounter him has wedged himself inside a lift. The dreamscape however is where Kon truly lets his creativity shine with his centrepiece being a maniacal parade, comprised of various colourful characters which rolls on like an unstoppable tide and only continues to be added to as the dreamscape grows ever more out of control. Elsewhere Chiba as Paprika is able to manipulate the dreamscape to her advantage, turning herself into a fairy and even at one point taking on the form of Monkey (a reference possibly lost on those not up to speed on their Asian mythology) complete with staff and magic cloud! Of course the further she delves into the dreamscape the more twisted it becomes especially the closer she gets to those responsible for abusing the power the DC Mini provides the user with.

While the visuals might be exceptionally pretty to look at they are truly heightened by the electro heavy soundtrack composed by long term collaborator Susumu Hirasawa who once again pulls off something quite special, while many such as the parade theme and opening theme are exceptionally catchy while having that rare quality of working even when taken away from the film.

Unquestionably this is a film which requires more than one watch especially when the plotting can at times come off perhaps slightly unnecessarily complex in places, especially towards the end when the two worlds become fully blurred leading to some certainly impressive sequences, especially when you look at the level of detail in scenes like the parade, whose sheer variety of characters may even have you hitting the pause button to take them all in.

While this film like so many of his films might not be as well known outside of anime fan circles, I can really only hope that this film one day get exposed to a wider audience so that it will be rightfully refrenced alongside the likes of “Akira” and “Ghost In The Shell” when it comes to naming truly great anime, especially when it once again proves that animated films can provide the same thrill and wonder as life action, while providing a fitting end note (for now) to the remarkable career of Satoshi Kon

Class of Nuke 'Em High

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Title: Class of Nuke ‘Em High

Director: Richard W. Haines, Lloyd Kaufman
Released: 1986
Starring: Janelle Brady, Gil Brenton, Robert Prichard, Pat Ryan Jr., James Nugent Vernon, Brad Dunker, Gary Schneider, Theo Cohan, Gary Rosenblatt, Mary Taylor, Rick Howard, Lauren Heather McMahon, Arther Lorenz

Plot: Strange things are afoot as Tromaville High School, with nuclear radiation leaking into the school from the power planet next door, things only get weirder when Warren and Chrissy are unwittingly given radioactive pot.

Review: The films of “Troma Entertainment” have always been an acquired taste to say the least, as despite frequently feeling the wrath of the critics with each new film they release, they have at the same time continued to be supported by a rabid fan base. After all what other studio can boast its own free festival promotional team made up completely of its fans? Equally Troma owner Lloyd Kaufman has frequently played a similar role to Roger Corman in assisting up and coming directors and actors in getting their first breaks in the industry including “Guardians of the Galaxy” director James Gunn (Tromeo and Juliet), “South Park” creators Matt Stone and Trey Parker (Cannibal! The Musical) and even J.J. Abrams (Nightbeast) to name but a few! At the same time Kaufman has been equally keen to inspire others to make their own trash movies with his now dated due to their focus on shooting on film, but still amusing “Make Your Own Darn Movie” series of books.

Needless to say a Troma film is always a unique experience and this is none the less true here, with the film opening with nerdy student Dewey (Lorenz) accidently drinking nuclear waste out of a drinking fountain before suddenly freaking out and punching classmates before finally throwing himself out of a window, where he proceeds to melt into a gooey puddle on the concrete. Still this incident pales in comparison to the general issues that Tromaville High School has, with the hallways lined with random horny students constantly making out, while the debate team have turned into a psychotic biker gang called “The Cretins”, while look like rejects from “The Warriors” with their truly random styling, including Gonzo (Dunker) who dresses like a tribal warrior and even welds a bone while wearing a stupidly huge nose ring. Still within this mass of random characters none of whom seem to belong in the same movie, we have the young and innocent (well compared to their classmates) lovers Warren and Chrissy who after smoking the radioactive pot, which the Cretins are marketing as “Atomic High” picked from the nearby power plant they soon find themselves suffering from bizarre side effects with Warren soon gaining super strength, while the two are soon overcome with overwhelming horniness.

No doubt this all sounds random enough, but this of course is before you take into account the genre hoping antics taking place within the film as it switches between a horror, teen sex comedy and even superhero elements as Warren set out to take out the members of the Cretins, in a scene which comes across like a throwback to Troma favourite “The Toxic Crusader” as he appears with a mutated head and toxic waste squirting out of his ears. However despite this radical change he randomly be back to normal by the next time we see him. Still this is all without mentioning the mutant monster which Chrissy vomits into the school toilet only to later come back in its adult form for the finale where it soon sets about making short work of the remaining members of the cast.

The film is packed with the trademark splatter the Troma has over the years become renown for, all of course done with old school effects which are certainly creative to say the least, especially when they include Warren jamming his arm down one gang members throat, while another gang member gets his head punched through by Chrissy’s monstrous offspring. These of course just a few of the gory delights contained within, with Kaufman once again showing his ability to stretch a budget which is not limited to him intentionally changing the original name of the film from “Nuke ‘Em High” in hopes of people mistaking it for “Class of 1984”, with his crafty financial ways even making the mutant monster seem impressive despite it being incomplete at the time of filming, meaning that you never see the full creature only it’s hands and face, it still comes off pretty impressive and even more when you compare it to the CGI creations of late.

Moving at a rapid pace there always seems to be something happening throughout the film, even if it frequently fails to make a whole lot of sense, while the frequent bouts of gore and violence, provide most of highlights especially when the story so frequently feels like they are making it up as they go, which could knowing Troma be all so true. However the film in best b-movie / exploitation style does show you things you things you’d be unlikely to see anywhere else (and often with good reason) with the Cretin’s taking over the school and riding their motorcycles through the halls being especially memorable, much like the drug fuelled dreams of Warren and Chrissy which not only feature mutations aplenty, but also Warren sporting a monster (literally in this case) erection as he makes not so much a tent but a marque with his bed sheets. As with the majority of Troma’s output it is hard to recommend this film, as like most of John Water’s early film it is more a case of challenging you to experience it and make up your own mind, as this film is no different as its one you will either love or hate. Needless to say someone clearly did love this as it spawned two sequels which I guess I have doomed myself to watching at some point, much like I did by watching “Leprechaun” and while your regular movie goer will no doubt despise this, bad movie fans should atleast give this a look even if it does largely linger around the ass end of okay throughout.  

The Science of Sleep

Title: The Science of Sleep

Director: Michel Gondry

Released: 2006

Staring: Gael Garcia Bernal, Charlotte Gainsbourg, Alain Chabat, Miou-Miou

Plot: Stephane (Bernal) a frequent lucid dreamer, who seemingly spends as much time in his own personal dream world as he does in the real world. Having returned from Mexico to his childhood home in Paris, following the death of his father, he takes up a job at a Calendar Company believing that it will provide the outlet for his creativity he craves, while also forming a relationship with Stephanie (Gainsbourg) who shares Stephane’s overactive sense of creativity.

Review: This last week despite my best efforts I have been suffering from the darn flu that is currently going around and in between amassing a small pharmacy of flu remedies and looking for some suitable viewing while I was refusing to get out of bed, I rediscovered this film in my collection and knew that I had found my choice for this week. This weeks choice is a film which was pretty much ignored on it’s release despite receiving a lot of positive press from critics, which is only the more surprising at the time with Director Michel Gondry coming in hot after the phenomenal success of “Eternal Sunshine of the Spotless Mind” and memorable in the conscious of the movie going public, an advantage which allowed Gondry seemingly unlimited creative freedom for this project, which would also be the first film written by him, with his previous films both being scripted by the equally visionary screenwriter Charlie Kaufman probably best known for writing “Being John Malkovich” and while “Eternal Sunshine of the Spotless Mind” might have been trippy, this film would be turn out to be on a whole new surreal level.

Coming from a background in commercials and Music videos, much like equally visual directors such as David Fincher and Spike Jonze who bizarly also made the transition to feature films around the same time as Gondry did, though while they may have expanded on their earlier styles, Gondry has reminded determinedly set in his own surreal world of DIY props and dream like imagery, while frequently drawing inspiration from his own dreams and has frequently used this imagery as part of his work, which makes it only all the more sense that he would eventually make a film about dreams.

The casting is nothing short of bold, with the two leads being realativly unknowns to most movie goers, bar those with a taste for Foreign and independent cinema. Having made the pitch black “The King” a year earlier this film would be Bernal’s second film to be shot in English, having previously only being known to fans of foreign cinema for his roles in “Y tu mamá también” and the fantastic “Amores perros” this film would continue his trend for fearlessly choosing his roles, especially with a character as frenzied as Stephane. Equally inspired is the casting of the little known Gainsbourg who is equally believable as Stephanie while seemingly to genuinely believe and buy into the world which Stephane lives inside, while also being shown as the stereotypical hot art student with her personal styling and room layout, which also is hinted with the intoxicating essence of Parisian flair.
Split down the middle, the film frequently switches between two worlds, the real one and the world of Stephane’s dream and more precisely “Stephane TV” his own TV show in his mind were he frequently reflects on current events happening around him, while providing the gateway into the even more surreal parts of his mind, with Gondry frequently choosing to switch between these two worlds frequently without warning, which can be a disorientating experience upon your first viewing and it’s really only on the second viewing that it becomes easier to identify the boundary lines between these two worlds, even when those lines frequently become all the more blurred as the film goes on, especially as Stephane’s dreams only grow in intensity.

This constant disorientation is only furthered by the frequent switches in the characters speaking French and English, also like the switches in reality with little or no warning, only making it more the appropriate when this is picked up by Stephane, who complains that it is making him feel “Schizophrenic”. Still Gondry somehow manages to get the audience to buy into this style of storytelling, which is highly reminiscent of French New Wave directors such as Jean-Luc Godard and from the retro opening titles onwards I found myself frequently comparing the work of the two directors, especially with both being key in furthering the progression of visionary cinema and it was interesting to see Gondry seemingly referencing Godard’s work, while also drawing inspiration from the more established visionaries like Terry Gilliam and David Cronenberg whose Spider like Typewriter from “Naked Lunch” making a surprise appearance here.

The dream sequences are truly the main selling point of this film, as Gondry lets loose with some of his most ambitious imagery to date, as he constructs elaborate sets from cardboard and polystyrene combined with heavy use of stop motion animation, while for those familiar with Gondry’s work will recognise the now all familiar giant hands which have frequently appeared at various points in his previous music videos and films to the point were they are almost as established as his other trademarks, despite having originally been born out of a frequent childhood nightmares about his hands growing to gigantic size, to the point were his mother would have to continuously rubs his hands to assure him that it was nothing more than a dream, though for such an unpleasant childhood memory it bizarre that it would feature so frequently in his work. Still frequently these sequences often do feel like an excuse for Gondry to pull out his film making bag of tricks, especially when so many scenes seem reminiscent of his earlier work.

Ultimately this would be his most ambitious film to date and also prove to be the zenith of his creativity, as the films which followed would see him gradually toning down his vision with his follow up “Be Kind Rewind” being firmly set in reality despite the heavy use of DIY props to now an almost mainstream style of film making seen with “The Green Hornet” which lacked any of Gondry’s trademark touches, though it remains to be seen how mainstream he has become as fan’s now egerly await the forthcoming “The We and the I”.

Ultimately this is a tale of doomed love and it’s sudden and abrasive ending will no doubt only further exclude it from the tastes of your average movie goer, while for those of you who like to be visually inspired by your film, there is much to enjoy, even if it does require your full attention to keep up with it’s continual switches, while only making you hope that Gondry returns to this style of film making soon