Read me a story, daddy. Especially ones filled with rape, racism, and teenage angst.
Two different stories that never connect, are told to us through the parts known as “Fiction” and “Non-fiction”. “Fiction” is the story of a young college student (Selma Blair) who gets her emotions all wrapped up in a bunch when her boyfriend (Leo Fitzpatrick) breaks up with her, leading her to fall into the arms of her cocky, but charming professor (Robert Wisdom). “Non-fiction” is the story of a middle-aged, failing documentarian (Paul Giamatti) who gets inspired to make a movie, following a young, confused teenager (Mark Webber) and the rest of his dysfunctional family, that just so happens to have a lot more going on between them than meets the eyes.
That blonde hair will drive any man wild
Todd Solondz movies are of required-taste and if you can get through them without batting an eye or feeling awkward, then good for you. For me, I still can’t help but feel like this guy is just messing with me, to mess with me. And I hate to say it, but it works well, even though I feel as if I’ve seen and heard it all by now. But still, he continues to push the envelope, even if that aspect of his directing makes him of a provocateur, and not a film maker.
Hell, even in this movie, he makes fun of what people have had to say about him in the past. They call him “shocking for the sake of being shocking”, “racist”, “a bigot”, and even go so far as to be called the dreaded “P-word”: “pretentious”. For a film maker like Solondz to take all of that criticism in stride, really does deserve some credit because he not only throws it right back in those hater’s faces, but even shows them why they may be right as well.
That said, this is where the movie hits its slippery-slope in the way.
The idea of having two, separate stories told in one movie definitely makes it feel like we’re going to get double the trouble with what Solondz has to offer, which is true, but not in the smart, sly way he’s done it before. Instead, all of the dirty stuff that happens here, feels deliberate, as if Solondz himself is trying really, really hard to get a reaction out of us, simply because the material he’s working with doesn’t have that much steam to pile on through. Both stories seem interesting on their own, and even the points he brings up go along with them as well, but it just feels like a missed-opportunity for Solondz to really give us something worth thinking about, rather than landing on the same, two feet that he landed with before.
And yes, you can expect there to be plenty of sex, awkwardness, explicit content, and random conversations about the slimy stuff in our bodies. And yes, sometimes, it works. Other times, it doesn’t. Storytelling feels like the kind of flick Solondz perhaps needed to get off his chest after something as ambitious as Happiness, but still, it also makes it feel more like a greatest hits album, rather than actual greatness itself.
Either way, the stories do sort of work.
With “Fiction”, the idea of young teens falling for an older demographic because of the seniority they show, is actually pretty scary. Seemingly out of nowhere, however, Solondz gets a little bit too ahead of himself, gives us an over-long sex scene (unedited, no red boxes in my viewing), and a couple uses of the “N word” that was supposed to get a rise out of us I assuming, but instead, felt like it was Solondz getting a bit too wacky and explicit for his own good. The aftermath of this scene is smart and funny, however, I still continued to scratch my head wondering, “What was the point of all that?” Is everything we write on paper already considered “fiction”, or is everything after that “real”.
No matter how many licks, we may never know the answer.
Then, we have “Non-fiction” which is oddly longer than the first entry into this flick and shows it’s length as well. It isn’t that I didn’t feel like there was an interesting bit of storytelling to be had here with the loser documenting the stuck-up, egotistical family, it’s just that the targets it’s meant to be satirizing doesn’t quite work as well because it’s all too obvious and easy. The idea of having a film maker, make a movie that’s already pretentious as it is, in your already-pretentious movie is so obvious, that it’s almost too dumb to really take seriously, so that when it does begin to go down the path of making fun of those people who have talked crap on Solondz work in the past, it feels more like a kid saying, “hate to say I told ya so!”, rather than somebody making a legitimate statement about the films he makes. Like I said before, it’s an opportunity that seems missed, even if this story has the most disturbing ending I’ve seen in a long, long time.
“Hi, it’s me Paul. Again. Yes, I am depressed. Again.”
Yep, even Happiness‘ ending loses to this one.
Consensus: Even at a measly and meager 87 minutes, Storytelling feels like a collection of interesting things that Solondz can, and is perfectly able to do, however, with no real payoff.
6 / 10
Let’s face it: we’ve all wanted to do the same thing.
Photos Courtesy of: Thecia.Com.Au