As I passed above the Santa Monica Art Nouveau Subtitled Art-House Flick-Palace I noticed a convenient Capital 'H' on the roof so wtf.
So,
Popcorn and Gatorade in hand I settled down to enjoy the movie.
I'd seen the reviews:
Anywho
The cinematography was a scintillation of post-Renoir autumnal shades - the Okrah patch was exactly how I'd imagined it, and the loving detail of the shack (down to every ham-fisted rivet in the moonshine still) made it all the more real.
The casting had looked questionable, but once you're absorbed in the realism of the movie's 'look', it all makes sense.
Gary Oldman's portrayal of Varus is a work of inspiration, genius, meister-werk and incontinence. From dungarees to gumboots, he 'was' Varus.
Drew Barrimore wasn't the obvious choice to play "Teh Sheppard", but every slavering teeth-baring frame exudes rabid-dog (not surprising since it's been a feature of many of her recent performances). A great choice.
The part of Al-Katie was always going to present a challenge, but whoever decided on Christopher Walken deserves an Oscar
The "***-Raping" scene isn't for the squeamish, but in context, it was fitting to the mood of the film. The freeze-frames of Varus grimacing each time another phallus entered his ravaged and un-lubed fundament was disturbing at first, but the sensitive soft-focus treatment of him handing over the $5 bill to each of the perpetrators belied the apparent violence.
If you want to see a film about a dumb, knuckle-dragging po' cracker being abused at his own behest, then this is for you (although it lacks the comedic value of "Schindler's List", the rip-roaring pace of "Pride and Prejudice" and the Special Effects that kept us applauding "Supersize me").
In summary, this transcends the innate harmomization of our other-worldliness and made me want to touch myself in special places.
Word
Totem
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