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

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Showing posts with label Lodge Kerrigan. Show all posts
Showing posts with label Lodge Kerrigan. Show all posts

Wednesday, September 16, 2026

Clean, Shaven (Lodge Kerrigan, 1993)

Peter Greene in Clean, Shaven

Cast: Peter Greene, Megan Owen, Jennifer McDonald, Jack McDonald, Molly Casteloe, Jill Chamberlain, Alice Levitt, Roget Jolly, J. Dixon Byrne, Eliot Rockett, Lee Kayman, Rob Benevides, June Kelly. Screenplay: Lodge Kerrigan. Cinematography: Teodoro Maniaci. Production design: Tania Ferrier. Film editing: Jay Rabinowitz. Music: Hahn Rowe. 

Lodge Kerrigan's Clean, Shaven is a sensitive, accomplished portrait of a schizophrenic somewhat undermined by the imposition of a detective story on the material. Peter Greene hauntingly plays a deinstitutionalized mental patient, Peter Winter, searching for the daughter, Nicole (Jennifer McDonald), who was put up for adoption after he was hospitalized. When a girl Nicole's age is found bludgeoned to death, a detective (Jack McDonald) in charge of the case begins to suspect that Peter may have been her killer. Eventually the two men come together, but the film never resolves the question of whether Peter actually killed the little girl. This inconclusiveness, and the absence of some of Peter's backstory, including his experiences while institutionalized and his ill-fated marriage, leaves us with more questions than the film needs to be fully satisfactory. Its real strength lies in the ambiance that Kerrigan creates around Peter, a haunting mixture of radio static and voices, along with natural sounds like wind and bird calls, amplified to suggest his perpetual edginess and lack of balance.