11/1/14 (Part Two): The Imaginarium of Dr. Anderson

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Adrien Brody, adventure, Alexandre Desplat, all-star cast, auteur theory, best films of 2014, coming of age, concierge, contested will, Edward Norton, F. Murray Abraham, Film auteurs, friendship, Grand Budapest Hotel, Jeff Goldblum, lobby boy, M. Gustave, magical-realism, male friendships, Mathieu Amalric, Ralph Fiennes, Robert D. Yeoman, romance, Rushmore, Saoirse Ronan, The Grand Budapest Hotel, The Royal Tennenbaums, the Society of the Crossed Keys, Tilda Swinton, Tony Revolori, Wes Anderson, Willem Dafoe, writer-director, Zero Moustafa

Even though the concept may no longer be in fashion, there really is no better word to describe writer-director Wes Anderson than “auteur”: it’s quite impossible to mistake any of his movies for the work of any other filmmaker and, as a whole, his back catalog is just as indispensable as those of Martin Scorcese, John Ford or Francis Ford Coppola. With a fussy, vibrant and immaculately composed style that recalls such filmmaking peers as Peter Greenaway and Jean-Pierre Jeunet, Anderson has been making wonderfully quirky odes to the importance of family (both biological and “acquired”) for nearly 20 years now. While Anderson’s canon is one of the most high-quality bodies of work in modern cinema, his newest film, The Grand Budapest Hotel (2014), might just be the most inherently “Andersonian” film he’s yet crafted, a gorgeous, baroque and almost impossibly dense marvel that spans some 80 years of European history and introduces the world to one of his all-time best characters: the amazingly vibrant M. Gustave (Ralph Fiennes), ever-faithful head concierge at the titular establishment.

Opening with a flashback structure that most resembles a set of those Russian nesting dolls, we begin in the present, where a young girl is visiting the grave site of the author responsible for the book, “The Grand Budapest Hotel,” before jumping back to 1985, where we actually meet the author (Tom Wilkinson) before jumping back, again, to 1968. At this point, we’re introduced to Mr. Zero Moustafa (F. Murray Abraham), the fantastically wealthy owner of the Grand Budapest Hotel: he agrees to tell the author the story of how he came to own the hotel, which jumps us back one final time to 1932, where the meat of the tale occurs.

We now meet Moustafa when he’s but a lowly lobby boy (Tony Revolori), taken under the wing of the indomitable M. Gustave. Gustave is the whip-smart, rakish force-of-nature who is the living embodiment of everything the Grand Budapest stands for. He’s also quite the Don Juan, as it turns out, handily romancing the lonely, elderly ladies who constantly stream in and out of the hotel. “She was dynamite in the sack,” he fondly reminisces to Zero, only to be told, incredulously, that she was 84 years old. “I’ve had older,” he happily replies, “When you’re young, it’s all filet steak, but as the years go by, you have to move on to the cheap cuts. Which is fine with me, because I like those. More flavorful, or so they say.” One of these “cheap cuts,” as it were, is Madame D (Tilda Swinton), an exceptionally wealthy society matriarch and one of Gustave’s biggest “fans.” When Madame D dies after a passionate evening with Gustave, the concierge suddenly finds himself bequeathed a priceless painting, much to the massive consternation of Madame D’s patently awful son, Dmitri (Adrien Brody).

Convinced that Gustave killed his mother in order to gain access to her fortune, Dmitri is bound and determined to see Gustave in leg-irons. With the help of his sleazy right-hand man, Jopling (Willem Dafoe), Dmitri frames Gustave and gets him thrown into prison. As anyone whose met him can attest, however, it’s patently impossible to keep the irrepressible Gustave penned up and he’s soon on the lam, thanks to an ingeniously messy prison break. With the help of the always-faithful Zero and his new lady-love, Agatha (Saoirse Ronan), Gustave must work to clear his name and assume his rightful reward, even as Dmitri and Jopling cut a bloody swath through the countryside. With the dedicated Inspector Henckels (Edward Norton) on his trail, however, escape won’t be easy and Gustave, Zero and Agatha might just find themselves in the fight of their lives.

Above and beyond almost all of Anderson’s previous films, The Grand Budapest Hotel practically demands repeat viewings in order to parse through the dense, layered material. There’s an awful lot going on in the film: not only do we deal with all of Gustave’s madcap adventures but there’s also the implied background of the film, itself, to deal with. Set between World Wars I and II, in the imaginary Republic of Zubrowka, The Grand Budapest Hotel deals (albeit in a slightly modified way) with the events that lead up to World War II, specifically the German aggression which would, in turn, lead to the National Socialist Party. Despite its loose, easy-going nature, the specter of the SS (here renamed the ZZ) and World War II hangs over The Grand Budapest Hotel like a pall, subtly informing everything from the background politics of the piece to interactions between the various characters. Despite its weighty subject-matter, The Grand Budapest Hotel is a remarkably light-weight film, certainly more easy-going and laid-back than one might expect for a film that discusses, in a roundabout way, the societal issues which led to the rise of the Nazis.

Two of the most “Andersonian” features of any of his films are the exceptional ensemble casts and meticulously detailed mise en scene and, in these regards, The Grand Budapest Hotel may just be the pick of the litter. The film looks absolutely gorgeous, so pretty and detailed as to almost seem like the life-sized embodiment of a miniature-adorned dollhouse. The Hotel, itself, is a masterpiece of baroque architecture, although the film is never short of astounding locations: Gustave’s prison, in particular, is a real marvel and reminded me of nothing so much as one of Jeunet’s eye-popping, studiously “unrealistically real” sets. And then, of course, there’s that cast…

It goes without saying that Fiennes is superb as Gustave: he’s one of cinema’s finest actors and he rips into the character of Gustave with real zeal, disappearing into the role so completely that it never seemed like acting. Watching Fiennes work is a real pleasure and he brings Gustave to glorious life with ease. The real surprise and shining star in the cast (which manages to include a veritable ocean of “blink-and-you’ll-miss-’em” cameos by acting heavyweights such as Harvey Keitel, Tilda Swinton, Bill Murray, Bob Balaban, Jeff Goldblum and Jude Law), however, is Tony Revolori as the rock-solid lobby boy. Revolori, with only one full-length film under his belt prior to The Grand Budapest Hotel, is a complete revelation: watching his performance, I was struck with the notion that here, before our very eyes, is a star on the rise. Revolori is absolutely perfect in the film: whether courting Agatha, decking Dmitri or saving Gustave’s life (multiple times), Zero is a completely three-dimensional, warm character and Revolori is a thoroughly magnetic performer. There’s a realness to Zero’s relationships with both Gustave and Agatha that lends the film a truly bittersweet edge. For her part, Ronan is marvelous as Agatha: as far from a generic “manic pixie girl” as one can get, there’s an edge to her character that’s nicely balanced by a real sense of intelligence. She’s a more than suitable partner for Zero and holds her own quite nicely.

On the “bad guy” side, both Brody and Dafoe turn in fantastic, endlessly fun performances as Dmitri and Jopling, respectively, with Dafoe turning in one of the most effortlessly “cool” performances of a long and storied career. It’s quite obvious that both actors are having a blast with their characters: Anderson even allows Dafoe engage in a little bit o’ the old ultra-violence that his cinematic characters are normally known for when he slams a door on a character’s hand, cutting off several fingers in the process. Unlike some of Anderson’s previous films, there’s a real sense of danger and imminent violence to be found in The Grand Budapest Hotel and much of the credit for this must go to Dafoe, who still manages to seem like one of the most dangerous guys in the world, even as he pushes sixty.

As previously mentioned, all of these aspects add up to not only one of the finest films of 2014 but, arguably, one of the finest films of Anderson’s storied career. While I didn’t find the film to be as immediately gripping as either Rushmore (1998) or The Royal Tennenbaums (2001), that’s not really a fair “criticism,” either: Anderson’s second and third movies are absolutely perfect masterpieces of modern cinema and I doubt that anything will ever quite equal that pair. That being said, The Grand Budapest Hotel is a real marvel: endlessly fun, inventive and appropriately bittersweet, the film has an epic scope that’s belied by Anderson’s typically low-key goals. At its heart, The Grand Budapest Hotel is a story about misfits trying to find their way in an increasingly cold-hearted world, about the importance of family and friends and about the joy…nay, the need, to remain true to yourself in a homogenous world. M. Gustave is a true individual, as is Zero Moustafa: united against the world, they’re capable of anything. Come to think of it, that sounds like a pretty damn good description for Anderson, too: a true individual whose capable of absolutely anything.

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4/29/14: Dance Like You Mean It

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A Mighty Wind, Australia, Australian films, auteur theory, ballroom dancing, Barry Fife, Barry Otto, based on a play, Baz Luhrmann, Bill Hunter, Christopher Guest, cinema, Clerks, comedies, dancing competitions, feature-film debut, Film auteurs, film festival favorite, film reviews, films, Fran, Gia Carides, Golden Globe nominee, independent films, John Hannan, magical-realism, mismatched couples, Moulin Rouge, Movies, multiple award nominee, outsiders, Pan Pacific, Pat Thomson, Paul Mercurio, Peter Whitford, quirky, romances, romantic films, Romeo + Juliet, Scott Hastings, silly films, Sonia Kruger, Strictly Ballroom, Tara Morice, The Great Gatsby, ugly ducklings, upbeat films, writer-director

Everyone’s gotta start somewhere and, for writer-director Baz Luhrmann, that somewhere was Strictly Ballroom (1992), the quirky, film festival darling that launched his career. From there, of course, Luhrmann would go on to make ridiculously extravagant, lavish films like Romeo + Juliet (1996), Moulin Rouge (2001), Australia (2008) and The Great Gatsby (2013), films which seemed to be defined as much by their excesses and eye-popping production values as for their characterizations and storylines. Strictly Ballroom, however, still stands as Luhrmann’s most human picture: despite it’s silly, slapsticky energy, this is a modest little film about small-town people trying to realize their dreams, a relatable nugget that’s low on flash but high on energy and fun. Although Luhrmann would go on to “bigger and better things,” his follow-up films, to this point, have managed to be neither as human nor as charming as his debut. Sometimes, the simplest things really are the best.

As the title insinuates, Strictly Ballroom is about the world of competitive ballroom dancing or, at the very least, the Australian equivalent of said sport. Our dashing hero, Scott Hastings (Paul Mercurio), seems to have it all: ample talent; beautiful partner, Liz (Gia Carides); loving, supportive mother and father (Pat Thomson and Barry Otto) who run a dance studio; and the admiration of people like Barry Fife (Bill Hunter), the President of the Australian Ballroom Confederation. Scott is a champion and seems a lock to win the Pan Pacific Championship, the dance title that he’s had his eyes on for pretty much his entire life. Everything, it would seem, is coming up Milhouse for Scott…until, of course, it doesn’t.

During a dance competition, Scott and Liza get boxed in by Scott’s smarmy dance nemesis, Ken Railings (John Hannan) and his partner. Feeling trapped and in a panic, Scott loses his head and, instinctively, busts out some decidedly non-regulation, “modern dance”-type moves. His parents are stunned, the Ballroom Confederation is disgusted and his partner is in tears: how could Scott possibly do this to all of them? Feeling suddenly free for the first time, however, Scott refuses to back down, determined to win the Pan Pacific competition with his new-found moves, whether or not the judges, his family or his partner think it’s kosher. Scott finds a kindred spirit in Fran (Tara Morice), a beginning dance student who shares Scott’s disdain for the rules and seems more than a little sweet on him. At first, of course, Scott treats her like the vain, egotistical jerk he is: he blows off her initial request to dance with him with the haughty exclamation, “A beginner has no right approaching an open amateur.” Luckily for all involved, Scott eventually gets over himself and begins dancing with Fran, first in secret and then in public, to the massive consternation of his micro-managing mother.

Everything comes to a head at the Pan-Pacific Grand Prix (where else?), as the various dancers splinter and regroup in various iterations. Skullduggery abounds: Fife and Scott’s mom scheme to get him hooked up with Tina Sparkle (Sonia Kruger); Scott’s father and his friend, Wayne (Pip Mushin) scheme to thwart Fife’s plan to kick out Scott; Scott tries to win back Fran, after realizing his colossal idiocy and former partner Liz schemes to get away from Railings, who’s revealed himself to be an obnoxious drunk. As the madcap carnival swirls to a conclusion, all involved will learn the most important of life-lessons: it’s not whether you win or lose that matters but whether you had fun doing it.

As one of the films that helped kick off the independent movie surge in the early ’90s, Strictly Ballroom will always have a little spot carved out in the hearts of film fans. Unlike many films of that era (fuck you very much, Clerks), the film actually holds up fairly well today, coming across as a spiritual predecessor to Christopher Guest films like Waiting for Guffman (1996), Best in Show (2000) and A Mighty Wind (2003). Like Guest’s movies, Strictly Ballroom isn’t a particularly sharp or mean film: for one thing, the sweet romance between Scott and Fran is too front and center, while the dastardly machinations by the villainous Fife are too broad and silly to have much menace. It’s also clear that Luhrmann, for whatever reason, feels some genuine affection for his characters and doesn’t want to poke too many holes in them: even Scott’s mom, who can sometimes seem like a bush-league, dance studio Cruella De Vil, is given enough backstory justification to explain many of her more questionable actions.

I’ve never really warmed to any of Luhrmann’s post-Strictly Ballroom films (I haven’t even bothered to see The Great Gatsby, although I’ll get around to it some day), although I distinctly recall seeing Romeo + Juliet in the theater and thinking it was a good, but not great, retelling of the old chestnut. For the most part, I find Luhrmann’s films to be the very definition of “style over substance,” particularly the ridiculous excesses of Moulin Rouge!, although Australia is just as over-stuffed and silly, in its own way. Strictly Ballroom is a much more down-to-earth, character-based effort, however, possibly because it was an adaptation of one of Luhrmann’s stage plays. Whatever the reason, this is one of the few Luhrmann films where the actors don’t feel like set dressing, living props only around to show off the consistently impressive production design.

Strictly Ballroom is not, of course, a particularly original or unique film: it manages to hit pretty much every single beat that you would expect from this kind of light, romantic comedy, right down to the marginalized parent who swoops in at the eleventh hour to save the day. That being said, the film is still full of lots of fun, energetic moments: one of my favorite bits was the ridiculous smooth-jazz, instrumental version of Cyndi Lauper’s Time After Time that scores the montage scene where Scott (unsuccessfully) auditions a small army of replacement partners. The film is full of nifty little touches like this, perhaps hinting at the overly busy, baroque productions that Luhrmann would later make his calling card. At the beginning, however, he was a quirky, slightly off-center indie filmmaker with a keen interest in exploring some of the odder inhabitants of his native Australia. He may have become a household name with films like Moulin Rouge but I can’t help wishing he’d give us another one like Strictly Ballroom, instead. There are already plenty of big, gaudy, loud films in the world: a few more with a little heart couldn’t hurt.

3/31/14: When One Door Closes…

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Arthur Kennedy, bankruptcy, Beau Bridges, boat-building, cinema, dramas, film reviews, films, independent films, indie dramas, John David Coles, Kate Reid, Kathy Bates, Kevin J. O'Connor, magical-realism, Maine, Mary Louise Parker, Michael Lewis, movie-of-the-week, Movies, Owen Coughlin, Signs of Life, TV director, Vincent D'Onofrio

It’s a fact of life, for better or worse, that nothing really stays the same for very long. This can be a good thing, of course, because it means that all bad things must someday end: dictatorships, prejudices, awful politicians, terrible people…if nothing else, no human can live forever (yet) and the bad ones, like the good ones, must one day go. On the other hand, this constant state of flux means that none of the good things will stay around forever, either: happiness, wealth, health, youth, your favorite band or even the planet Earth…these may all be here today but, as sure as the sun currently rises and sets, there will be a time when they’re not around any more. We all must deal with changes like this: how we deal with these changes, however, is what makes all of us unique. John David Coles’ Signs of Life examines what happens when, in effect, life closes one door…and opens another.

Owen Coughlin (Arthur Kennedy) owns a small ship-building business in a small Maine town, a business which employs many of the local residents, including John Alder (Beau Bridges), brothers Daryl and Joey Monahan (Vincent D’Onofrio and Michael Lewis), Eddie Johnson (Kevin J. O’Connor) and Mrs. Wrangway (Kate Reid). Business has not been good and Coughlin has just sold his last ever boat to a large family of Italian fishermen. “We did a good job…now we’re out of business. No one wants what we’re building,” he tells his employees, shoulders slumped in defeat. This is the end of an era, as well as a way of life, and everyone knows it.

After the bombshell drops, Coughlin’s employees are left scrambling to pick up the pieces of their lives. Best friends Daryl and Eddie want to head out to Florida to become salvage divers (despite Eddie’s inability to swim), second-in-command John has several daughters and a very pregnant wife (Kathy Bates) who’ll deliver another one any day now and poor Mrs. Wrangway just wants to make sure that this doesn’t destroy old Owen. As often happens, there are complications everywhere they look: Daryl’s brother is mentally impaired and relies on Daryl to take care of him, Eddie’s girlfriend Charlotte (Mary Louise Parker) absolutely does not want him to leave, and John has just stolen a wad of cash from his shitty, condescending brother-in-law Ernie (Ralph Williams). As Coughlin experiences a complete breakdown, feeling all of his years of hard work unraveling into nothing, he’s pestered by a persistent stranger, played by Will Patton, a stranger that may just hold the key to Owen’s past (and future). “Looks like you’re done building boats,” he laconically tells Owen. But is he? Do we ever really give up our passions, even if they no longer work for us?

Signs of Life, for the most part, bears all of the indicators of a Hallmark Movie of the Week: gauzy, misty cinematography; large, ensemble cast filled with familiar faces; quiet, pensive mood; bucolic setting; relationship/family struggles; the past intruding into the present. Truth be told, Signs of Life is rarely, if ever an original film, although that doesn’t prevent it from being a decent film. The biggest problem, ultimately, is that the film comes across as relatively low-stakes, despite the obligatory “racing to save a loved one from danger” scenes. The film’s pace is so measured and relatively even that it has the tendency to lull one into a semi-aware state: there’s nothing happening here that really needs to be thought about, merely experienced. All of the old familiar beats are here: relationship struggles (Eddie vs Charlotte), familial struggles (John vs Mary Beth), struggles with the past (Owen vs the stranger), fraternal conflict (Daryl vs Joey), secret loves (Owen vs Mrs. Wrangway), man vs society (John vs his brother-in-law). As a whole, Signs of Life does nothing new with any of these angles: even the introduction of a magical-realist element doesn’t do anything to elevate the story, merely moving it in a direction that feels like a far lesser Milagro Beanfield Wars.

For the most part, director Coles has been a fixture behind the scenes of various television shows since the early ’90s: Signs of Life was his first (and, to this point, only) feature film and it shows. Many of the beats in the film feel more suitable for a TV movie and the conflicts are all pretty straight-forward and easily resolved. The one real head-scratcher, though, has to be the complete dismissal of John’s storyline. After having him steal and lose the money, the film essentially abandons John, leaving the audience to wonder just what the hell happened to him. Did Ernie get him arrested after all? Did his wife leave him? Did everything end up as rosy for him as it did for the others? It’s a weird development and smacks of key scenes being left on the editing room floor…or never being filmed in the first part, which is definitely the bigger sin.

At the end of the day, Signs of Life isn’t an awful film but it ends up being terribly generic and unoriginal, which may be just as bad. If you’ve been paying attention, there shouldn’t be any surprises at any point in the running time (if you figure out that John storyline, though, drop me a line): there also won’t be a whole lot to remember, to be honest. Signs of Life is a decent film with a good cast doing decent work. If you’re looking for average, middle-of-the-road entertainment, you’ve come to the right place.

2/13/14: Just a Couple of Easy Riders

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A Martinez, Amanda Wyss, based on a book, Bonnie Red Bow, buddy films, Buddy Red Bow, cinema, David Seals, Dead Man, discrimination, film reviews, films, Gary Farmer, Graham Greene, independent films, jail-break, Jonathan Wacks, magical-realism, Movies, Native Americans, Northern Cheyenne, Philbert Bono, Powwow Highway, racism, reservations, road movie, road trips, self-discovery, vision quests, Wayne Waterman, Wes Studi

Finding one’s own identity and sense of self can be a daunting task under the best of circumstances. Some people may spend their entire lives “discovering” themselves, while others seem to know just who they are from a relatively young age. To make matters even more complicated, notions of self and personal identity also come not only from our internal communities but from the larger global communities around them. It can be hard enough to know who you are without the media and entertainment organizations constantly tossing in their own ten cents.

If finding one’s own place in the world can be difficult enough under the best scenarios, how much more difficult must it be when one has been marginalized, made to be an outsider in one’s own home? What if the surrounding culture, the “dominant culture,” as it were, was not only radically different from yours but, in some cases, diametrically opposite? In the case of the United States’ Native American population, this has often been the case. Jonathan Wack’s buddy pic, Powwow Highway, examines this concept of the search for personal identity while wrapping it within an easy-going, often meandering but ultimately entertaining road-trip framework. Powwow Highway isn’t a perfect film but it is an incredibly likable one and a surprisingly wry one, at that.

Philbert (Gary Farmer), a sweet-natured but naive member of the Northern Cheyenne, lives on a reservation in Montana. One day, he sees a blatantly racist TV commercial for a local car dealership and decides to head over and “pick out his pony.” When he gets there, the dealership is a bit less impressive than the commercial made it seem (read: filthier than the repo-shop in Repo Man) but Philbert is still able to trade some weed, a little whiskey and five bucks for his very own “pony”: a beat-to-shit, rusted-out junker that looks like a contemporary to the Edsel. Despite looking like it will require foot-power, ala the Flintstones, Philbert is ecstatic and sets out on his very own vision quest, in pursuit of becoming a warrior. As luck would have it, he finds a road-partner in Buddy Red Bow (A Martinez), a hot-headed local activist who’s involved in a bitter dispute with a local mining company. They want in, Red Bow wants them out and he’s just passionate and fiery enough to rally the residents.

The mining company, however, plays dirty pool and they’ve figured out a pretty sure-fire way to get rid of the pesky activist: plant drugs on his estranged sister, Bonnie (Joanelle Nadine Romero), get her arrested in New Mexico and wait for Red Bow to go bail her out. In the meantime, they’ll be free to work their magic minus his less-than-passive resistance.  Red Bow meets up with Philbert and, together, the two set off on their respective missions. Red Bow doesn’t have a lot of respect (or patience) for the patently old-fashioned Philbert, finding his stories about the old days and desire to be a warrior to be pretty silly delusions. Philbert, for his part, thinks that Red Bow has lost his way and needs to be reminded of his ancestry. Together, the two meet a collection of colorful characters on the road, including Bonnie’s kooky best friend, Rabbit (Amanda Wyss), another Native American activist named Wolf Tooth (Wayne Waterman), a stoic but frightening Vietnam vet (Graham Greene, in a very early role) and a hunky, girl-crazy stud named Buff (Wes Studi, in one of his first roles, before his breakout in the following year’s Dances With Wolves). Together, this motley crew helps get Red Bow closer to freeing his sister and Philbert closer to becoming a warrior.

At its heart, Powwow highway is anchored by Gary Farmer’s massively impressive performance as Philbert. Without a doubt, Farmer is the true heart and soul of the film, imbuing Philbert with a completely intoxicating mix of childlike enthusiasm, righteous indignation, pride, fear and anger. There are a million ways that a character like Philbert could be portrayed: wounded, silly, self-righteous, a martyr, a savior, an idiot savant. It’s to Farmer’s great credit that he plays Philbert as, quite simply, a complex and completely real human being. At no point does Philbert ever come across as merely a symbol or a stand-in for the film’s message. Even when the magical-realist element of the film is at its highest, such as when Philbert repeatedly sees the Native American warrior in traditional tribal garb, Farmer always makes sure that Philbert’s feet remain firmly on the ground. Despite his constant sunny nature and optimism, Philbert is no Pollyanna: the scene where he grabs and shakes Red Bow is sobering because it’s exactly what we want to do, in that situation.

A Martinez’s Red Bow, while hitting a few more stereotypical character notes then Farmer does, also turns in a great performance. With any other co-star, Martinez’s gruff, passionate activist would be the one that the audience can’t take their eyes off of. Despite his central status in the storyline, however, this is definitely Philbert’s story: Red Bow is, effectively, riding shotgun throughout the film. The rest of the performances are equally assured: Studi is a hoot as the perpetually horny Buff and Greene is quietly powerful as the shattered Vietnam vet. If anything, his scant screen time is the film’s biggest disappointment, since it leaves you wanting more: he says more with a look and a downcast stare than most actors do with a monologue. Wyss (Judge Reinhold’s girlfriend in the seminal Fast Times at Ridgemont High) is fun as Bonnie’s nutty friend but the character ends up being pretty superfluous to the action and doesn’t seem to serve much point.

Idea-wise, Powwow Highway gives plenty to think about. From a filmmaking standpoint, however, things are a bit murkier. For one thing, the film’s soundtrack is pretty awful: it may be 1989 but the synthy keyboard dreck on display reminds of the cheesiest excesses on the beginning of that historically cheesy era. Even the U2 song that runs over the closing credits is schlocky and under-whelming, continuing the unfortunate musical trend.

The film also seems to be fairly low-stakes: despite any of the situations that the characters find themselves in, there never seems to be a genuine sense of danger to anything. The effect is similar to watching weekly episodes of MacGyver: regardless of the size of the bomb, you know Mac’ll be there next week. Similarly, it’s hard to get too invested in situations like Philbert busting Bonnie out of jail (ropes tied to the window-bars, just like in an old Western) or the group being pursued by the entire Sante Fe police department, since everything seems so low-key. Even a potentially tear-jerking finale is ultimately rendered into a happy ending: despite its refusal to pull punches, Powwow Highway seems inordinately determined to please its audience, at all costs.

Ultimately, Powwow Highway ends up being a fun, energetic but slightly weightless film. While there’s an awful lot to like here (Farmer’s performance, the quirky situations, the authentic setting) and only a few real missteps (the awful score. the occasionally dingy cinematography), the film doesn’t seem to have a ton of substance. Perhaps less reliance on Red Bow’s story and more emphasis on Philbert’s quest to become a warrior would have helped: even the film doesn’t seem particularly interested in the resolution of the stale mining subplot, since it never even bothers to actually resolve it within the framework of the film. The real drawing point here is Farmer’s fearless performance. He may have played Nobody in Dead Man, but Farmer proves that he’s the big somebody at the heart of this little world.