A blog formerly known as Bookishness / By Charles Matthews

"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."
--Gabriel García Márquez, One Hundred Years of Solitude

Sunday, September 15, 2024

The GoodTimesKid (Azazel Jacobs, 2005)

Sara Diaz in The GoodTimesKid

Cast: Azazel Jacobs, Gerardo Naranjo, Sara Diaz, Lucy Dodd, Pat Reynolds, Gill Dennis, Melissa Paul. Screenplay: Azazel Jacobs, Gerardo Naranjo. Cinematography: Eric Curtis, Azazel Jacobs, Gerardo Naranjo. Film editing: Azazel Jacobs, Diaz Jacobs. Music: Mandy Hoffman. 

In The GoodTimesKid Azazel Jacobs gives a millennial spin on the two-guys-and-a-girl trope popularized by French New Wave directors in films like Les Cousins (Claude Chabrol, 1959), Jules and Jim (François Truffaut, 1962), and Bande à part (Jean-Luc Godard, 1964). The girl in this case is Diaz (Sara Diaz), who lives with one of the guys, Rodolfo Cano (Jacobs). But when the antsy Rodolfo gets fed up with their relationship, he decides to join the army. Somehow the letter telling him to report for duty gets sent to another Rodolfo Cano (Gerardo Naranjo), who goes to set the record straight, and winds up following the other Ricardo home. Diaz is there, preparing a birthday party for her Ricardo, who doesn't want one and storms off. So the other Ricardo decides to hang around with her. If none of this makes much sense so far, you have a choice: either stick around to watch this low-key wackiness develop, or find another film to watch. In its defense, the film has some lovely moments, as when Diaz does a loosey-goosey dance to "I Can't Give You Anything But Love." But if you have no affection for grungy slackers or existential ennui, not to mention low-budget independent filmmaking, this isn't for you. I liked Diaz, who reminded me of Shelley Duvall, and Naranjo gives his Rodolfo a sweetly lost melancholy that contrasts nicely with Jacobs's self-destructive ferocity, but as a movie it's really kind of trifling. 

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