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Reviews of Recent Independent, Foreign, & Documentary Films in Theaters and DVD/Home Video
HOWL We can keep reminding ourselves—through occasional revisits to 1950s America—that the social revolution culminating in the late ’60s was a painful time, but in the end, we can duly congratulate ourselves and vilify those closed minded foes with whom we did battle. As forward thinking as some were back then, I think we’re doing the opposite now. We’re clinging to an outdated revolution when we reinforce its countercultural heroes without applying their viewpoint to the world around us today. Unfortunately, films like Howl come closer to fluffy biopic than topical docudrama, paying mere lip service to great poets such as, in this case, the late Allen Ginsberg (who was truly great) without following through on all that he stood for. First, there’s an extended performance of the eponymous poem, read aloud by Ginsberg (played well by James Franco) for the first time at an underground poetry event in 1957 to a rapt and enthusiastic audience. Then an extended and interwoven courtroom scene chronicles the censorship trial following Howl’s publication for content that, at the time, a wider audience found to be inappropriate. Also included are animated sequences based on the events and imagery of the poem, a mock interview with Ginsberg during the most prolific stage of his life, and reenactments of early events in his personal life, mostly his introductions to homosexuality and its subversive influence on his work. It’s a cornucopia of elements that are both documentary and retelling, creating a tribute to the power of the poem itself. There is a sense of authenticity here, a feeling that we’ve actually spent some real time with Ginsberg. However, the poetry reading segment feels like a music video that relies on the strength of the source material. The filmmaking ends up as mere accompaniment. The courtroom segment (a star-studded one, to say the least, including Jon Hamm, David Strathairn, Mary-Louise Parker, and Jeff Daniels, just to name a few) is a story without an arc. Each witness gives testimony on the literary merit of the piece, and each is cross-examined by both sides, yet not one character, from the witnesses to the judge, the lawyers to the crowd, has a change of heart. We as an audience can snigger when some 1950’s-minded Lit 101 professor offers his concrete opinion on what makes “great literature,” but for my money it feels a little too easy to make villains of these folks. I’d rather see a more contemporary application of this very same struggle. Isn’t a similar thing happening today in some form, and if so, what lessons can be learned from Ginsberg’s experience? Howl the film is too tame for my taste. For those looking for an easy night out with a biopic, be prepared for some seriously heady animation by Eric Drooker. At least a third of this film is created in a style reminiscent of Ralph Bakshi or perhaps The Wall-era Pink Floyd. Most of the time, the visuals, again, play as an accompaniment to this incredible poem, but keep an eye out for the “Moloch” sequence (those familiar with the material or its corresponding literary reference will likely shiver at the mention of its name). It’s done well, not only illustrating Ginsberg’s progressive notions, but complementing them. Sure, this
film testifies to a
revolutionary spirit, something that can be quite inspirational in the
right context. I’m not feeling it, though. I wanted to be swept away
with ideas, something Howl as a poem does very well. Howl
as a film, instead, exists between feeling good about what we
accomplished as a culture 50 years ago and feeling good about
accomplishing another enlightened screening at the art house.
Michael Lee
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