Director:
David Gordon Green
Starring:
Jamie Bell
Devon Alan
Josh Lucas
Dermot Mulroney
Release: 29 Oct. 04
IMDb
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Undertow
BY: DAVID PERRY
“The South is just someplace that people don’t really get
right. In terms of locations or feelings, there’s so much that goes
unnoticed. There are so many corners that are unexposed and people and
voices that haven’t been heard in movies.”
David Gordon Green made a mark for himself by succeeding in showing that
south he complained was untouched by most movies. In George Washington and
All the Real Girls, he struggled with characters who are stuck in a cruel
southern milieu, their location as detrimental to their upward mobility as
their ambitions. Both were lethargic dramas that asked the audience to stay
with the production no matter how unnecessary some of the set pieces may
become, almost always with some payoff.
None of this is true with Undertow, a showy third film that reeks of a
sophomore slump. The freedom his previous works have afforded him
unfortunately put it in Green’s craw that he should attempt an adventure
film with a irony-free 1970s aesthetic. With sepia filters, paused images,
and sudden zooms, he succeeds in getting some of the technical touches
right, but his adherence becomes obsessive -- four pauses for the same shot
is painfully ostentatious.
The lack of self-restraint goes far beyond the film’s look, which couldn’t
be more rote. This is a story that has minor nuggets of insight (a scene
with a lonely black couple is especially engaging) amidst a collage of
idiotic contrivances and illogical twists. None of the actors become truly
compelling (especially Josh Lucas channeling Bill Pullman in Frailty) as
Green forces them to run around the rural south with only a pitiful purpose
(the story pirated gold and the pair of siblings who are divided over it
isn’t particularly engaging). Usually intimate and astute in his statements,
Green becomes sloppy with his storytelling as some of his assertions become
oppressively obvious. If this is the South Green intends to elucidate the
cinematic intelligentsia to, count me out of the filmmaker’s once crowded
cheering section.
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