Controversy has swirled around Vincent Gallo’s film The Brown Bunny since it was screened at last years Cannes film festival and this past weekend Free California saw the film to see for ourselves what all the fuss is about and discover whether the brutal reviews have been warranted. And, we can tell you up front; the naysayers can all go to hell. The Brown Bunny is a good, maybe great, movie and worth the price of admission.
The premise of The Brown Bunny is simple: depressed man takes a road trip back to his one time home in California and in the process reveals the reason for his depression. The cinematography, which in our opinion is breathtaking and will be very familiar to Californians, adds to overall sense of doom, intermixing common clichés of the “sunny west” with a sense foreboding. The view is so heightened one gets the sense that Joan Didion or Eric Davis should have gotten a co-writer credit.
Only towards the end of the film, when the controversy finally comes, literally and figuratively, does the plot begin to make sense. As Chloe Sevigny has said repeatedly in interviews, the scenes, which have been labeled as outrageous, are in fact necessary and the whole point of the film. The actions in these scenes represent the final redemption for Bud, the depressed man, and allow him to move on with his life.
This film says something about manhood that is rarely touched in the American Cinema, the vibe and plotting are much closer to recent French films than anything currently being produced in United States. And, we should say, this film is by no means the high water mark for salacious sex and violence. Anyone who seen Gaspar Noe’s 'Irreversible' will find The Brown Bunny tame by comparison. The difference, we think, is that a know American, Sevigny, is the centerpiece of the sexual content. We doubt the film would have drawn such ire if Sevigny had been a no-name Frenchwoman instead of the Hollywood, Vogue cover, mover-and-shaker that Chloe is.
For Californians, especially men who have moved here from somewhere and have tried to find a place for themselves in the wild wild west, this movie is rare indeed. As every male who has made the physical and psychological trek westward knows, “making it” in California is hard. The society can be unrelenting in its cruelty and if you do not shield yourself by finding a safe existence quickly you will be run over. And that is what happens to Bud. It is very likely that the reviewers have failed to recognize this basic essence. It is impossible for a reviewer, in New York, Chicago or whatever, to fully “get” Bud because they could never comprehend what it is like to completely set yourself free upon the land and open yourself to the ultimate victory or defeat. Not surprisingly, recent reviews in LA and San Francisco have been much kinder to Gallo because they are “getting-in” in a way Roger Ebert never could.
For the westerner, The Brown Bunny shows Bud Clay at the bottom, like the Donner Party eating their friends in a frost bound Sierra Nevada, did, or Evil Knieval going headlong over the Grand Canyon, did. To really appreciate The Brown Bunny you need to understand the commitment it takes to charge Mavericks, or bet your life on some cocked-up Internet scheme. Open to the world; opened to ultimate failure.
See The Brown Bunny but be warned if you do not “get-it” or are sickened by it there is a reason and you will never understand until you take the ultimate chance on some wide open range.
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