Friday, February 13, 2015

Sawdust City

This is a great example of something or other: the synopsis in the 2011 LA Film Festival programme made it sound like a tired Midwest indie. It’s debatable whether it’d have seemed more or less attractive if they’d added that it was inspired specifically by Cassavetes’ terrific Husbands, and by him and Peter Falk in Mikey and Nicky. First-time director David Nordstrom was on hand to introduce the screening, and dedicated it to the just-passed Falk. Falk would have liked it a lot, I believe.

Nordstrom was not slavish in his inspiration, and nor did he confine himself, channeling a load of wintery 70s vibe with a sailor and a knapsack. A first-rate opening montage introduces us in very natural fashion to two brothers, who’ll soon see each other again after several years apart, with closeness and caginess. On the soundtrack, Pete the sailor calls brother Bob from a bar, chews the fat, lets on he’s in town, and says he’s got to find dad. They spend the night, and the rest of the film, on a bar crawl. Some personal, emotional stuff comes out, of course, but mostly the film lets them just be together, spar, drink, annoy, and generally fit.

The whole premise allows Nordstrom to hit obvious notes, but he nails almost all of them, dispensing the secrets of absence and family with care, and creating a couple of central characters whom one would be happy to watch doing almost anything together. He takes Bob himself, opposite Carl McLaughlin, a quiet, stolid presence who perfectly registers restrained annoyance, and makes his shell almost visible. But Bob is the remarkable creation, and a selfless performance – he can be such a dick at times that strangers want to beat him up. But he’s always ready to forget and raise another beer, and his obligatory toilet confessional is properly great.

If the film were no more than that, it'd be pretty fine, but it has a killer touch: the brothers are joined by Gene (Lee Lynch), a free-flowing barfly and practiced freeloader, who injects a great deal of amusement into the proceedings, supposedly guiding them to their dad. The kicker is that it’s exactly like late 60s Dennis Hopper is in the movie: his first shot is an instant classic, sitting at the bar, telling a hilarious story, with cowboy hat and shaggy beard. But it’s not an imitation: in speech he has echoes of Hopper, but his own voice. Lynch is brilliant, in a really unusual move pulled off to a tee.

The film plays out to a spot-on soundtrack of 70s bar rock, and the feeling for that kind of small-town bar existence is note perfect (filmed in Nordstrom’s home town). Photography is handsomely appropriate, by James Laxton; there’s a great deal of humour; and the emotional stuff is almost all handled well. If the final dialogue is cliché-ridden, the characters have earned it – and would they not be likely to talk that way? Thing is, Cassavetes and Falk wouldn’t have, and one misses the first-rate naturalism of the rest of the script. But overall, terrific.

d/sc/ed David Nordstrom p Mike Ott ph James Laxton m John Wood  cast David Nordstrom, Carl McLaughlin, Lee Lynch, John Brotherton, Becca Barr, Julie Carlson
(2011, USA, 97m)
posted by tom newth at

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