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Julien Donkey-Boy (Widescreen)

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$21.19 List: $24.98Save: $3.79 (15%)

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Description

    In his second directorial effort, writer/director Harmony Korine embraces the hyper-realist aesthetic of Lars Von Trier's Dogma 95 film movement, which mandates handheld photography using only available lighting, among other restrictions. As in the controversial Gummo (1997), Korine abandons traditional narrative for a series of vignettes about bizarre characters, in this case centered on Julien (Ewen Bremner), a schizophrenic who works in a school for the blind. Julien lives at home with his pregnant sister Pearl (Chloe Sevigny); his brother Chris (Evan Neumann), who wrestles in his spare time; and their violent father (Werner Herzog), who slaps his children around, hoses them down with water, and offers to pay Chris ten dollars to dress up in his late mother's clothes and dance. Eventually Julien escapes from his home and interacts with people on the street (some of whom, reportedly, were not professional actors and had no idea that Bremmer was an actor playing a scene). Mark Deming, All Movie Guide

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Additional Information

  • DPCI: 246-04-0084
  • ASIN: B002OF4RYY
  • Catalog #: 11589847
  • Item can not be gift wrapped.

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More exhausting than elucidative, the follow-up to Gummo finds writer/director Harmony Korine again mining his tropes of dysfunction, disease, and depravity. This time, however, he foregoes much of the surreal comedy and visual punch of the earlier film. With a title character loosely based on the director's own uncle, it's no surprise that Julien Donkey-Boy seems to have more sympathy for its protagonist than Gummo did for the majority of its hapless characters. Yet the endless badgering of Werner Herzog's gas mask-wearing father, the ceaseless procession of outre supporting characters, and the banal brutality of almost every interaction -- all these elements quickly grow tiresome. That's not to say the film is without its moments. In the title role, Trainspotting alum Ewen Bremner gives a fearless performance that sometimes even verges on goofy charm, while Chloe Sevigny exudes determined serenity in a series of pastoral and domestic interludes. The scene in which Sevigny's tender sister pretends to be Julien's mother, telephoning from beyond the grave, is as sad and amusing as it is strangely sweet. Yet too much of the 90 minutes between the shockeroo opening scene and the overwrought conclusion simply meanders, caught up in its own lackadaisical transgression. Despite Korine's adoption of the Dogma 95 manifesto and the input of some of that movement's leading lights (cinematographer Anthony Dod Mantle, editor Valdis Oskarsdottir), Julien Donkey-Boy proves as muddy visually as it does conceptually. Too little happens, what does happen is almost uniformly unpleasant, and all of it is filmed in deliberately ugly digital video. The result is a film that upholds its director's difficult reputation, but not the squalidly beautiful promise of his debut. Brian J. Dillard, All Movie Guide