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Tribeca 2011: “Detachment,” Reviewed

Tribeca 2011: “Detachment,” Reviewed (photo)

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Tony Kaye didn’t disappoint. In front of a packed house at the BMCC Performing Arts Center during the Tribeca Film Festival, the British director that once wanted his name replaced with “Humpty Dumpty” on “American History X” came out onstage with the greying beard of a hermit, the glasses of Sigmund Freud, a black guitar and a Whole Foods shopping bag to mumble an introduction of his film “Detachment” before breaking out into a full-blown song that ended with the audience chanting, “I don’t care.” (A sample lyric: “Brainwash my confidence away…begging for peace of mind may seem selfish and unfair…I don’t care.) Adrien Brody was there, too, saying some heartfelt words about how his father was a public school teacher, but all eyes were on Kaye, who implored the audience to look for the color red in the film by placing a piece of paper drenched in red ink in front of his face and demanding “Watch it. Watch it – the color red…look for it! Listen to it.”

I found myself unable to do that last part, but was also unable to look away from “Detachment,” which has its title derived from Albert Camus and introduces itself as “A Tony Kaye Talkie.” Soon, a chalkboard is filled with the credits of each of the actors, spliced between black-and-white clips of real-life teachers talking about their frustration until we see Brody’s substitute teacher Henry Barthes ruminating on the state of education and the psyche of educators. (Or perhaps it was Brody himself, since he sports a goatee he doesn’t in the classroom and said something very similar before the film about the complexities facing teachers today in his own introduction.)

Despite quick cuts and dutch angles to the contrary, the story is actually relatively simple: Barthes shows up to a high school for a month where the principal (Marcia Gay Harden) is clinging to power while she’s under siege from higher-ups interested in test scores, nearly all the teachers feel powerless and the kids are well beyond rescue, angry at a system they can only intuit has let them down and show it by wearing wildly inappropriate clothing and killing cats with hammers for sport during recess. An answering machine is shown frequently taking calls from pissed-off parents and resigning teachers and all the while, Barthes has concerns outside the classroom between caring for his father (Louis Zorich) and taking in a teen prostitute (Sami Gayle) he sees abused on a bus ride home.

Kaye’s worldview remains unpleasant and decidedly un-P.C., but all with the sole intention to provoke. African-Americans are portrayed as animals that need to be tamed, Christina Hendricks appears in the film mostly to be spat on (by a black student, of course, who is “going to get my n***ers to gang-rape you”) and serve as female company for Brody, and nearly every situation is taken to its extreme (and mostly predictable) end. However, Kaye’s lack of subtlety is made up for by his facility with images, which even as they include Nazi propaganda and gonorrhea-infected vaginas (in the film’s funniest scene, no less), somehow work in that indescribable harmony that’s the mark of a true artist.

There’s no doubt that’s what attracted such a strong cast to “Detachment,” which has far too many great actors than know what to do with, much like Lars von Trier’s “Dogville,” and it’s no surprise a survivor of that film, James Caan, comes away with the most winning turn here as a teacher whose wicked sense of humor gets him through the day. Likewise, Blythe Danner has enough clout to command the screen in her few scenes as a rebellious veteran. Less successful are the fully committed performances from Tim Blake Nelson and Lucy Liu, who both are marked for punishment early and receive it throughout as long-suffering educators in the midst of psychological breakdowns. Other members of the faculty include William Petersen and Doug E. Doug, who have about the same amount of dialogue, which is to say nearly zilch, while Bryan Cranston comes in as Harden’s husband to suck her toes and leave.

“Detachment” is very much hit-and-run that way, though it’s got a solid anchor in Brody, who can consider himself redeemed for that Stella Artois commercial if it meant taking on something dangerous like this. Due to Kaye’s unusual shooting methods – closeups where an actor’s face is dead center of the frame, shooting upward from the ground, etc. — Brody is occasionally left high and dry as an actor since when an unusual angle is employed, it becomes apparent that he’s acting, but with the film flipping back and forth between Barthes in the classroom and sitting by himself analyzing what he and other teachers go through, it suggests that the performance is necessary to communicate and deflect with students whose attention spans have been winnowed in this day and age.

In many ways, it’s that ADD generation that Kaye may connect with the most since it works far more at a subconscious level and practically, the director appears to be far less interested in answers than throwing grenades. Many of them are the same that have been brought out in previous battles — the downfall of public education is the fault of absent parents, teachers who can’t properly connect with their students, an emphasis on test scores and the dehumanization that takes place of both pupils and educators within the walls of the schools – only here, they have the ability to sear.

Hours after seeing “Detachment,” I’m not entirely sure if I learned anything from it or even if I felt its moments of self-indulgence (of which there are many, from scorched classrooms to Barthes’ constantly rhetorical questions such as “Haven’t you ever had enough?” to Kaye featuring his daughter Betty in the role of a suicidal artist who sees salvation in Barthes) outweighed what felt right about it as satire or hell-raising or somewhere in between. But what I do know is it shook up an all-too-polite debate on education, not to mention a film festival known for programming safe choices, and the result is something that, unlike the characters in “Detachment” who struggle with retaining their humanity, you cannot disconnect from.

“Detachment” currently does not have U.S. distribution, but will play the Tribeca Film Festival on April 27th, 29th and 30th.

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SO EXCITED!!!

Reminders that the ’90s were a thing

"The Place We Live" is available for a Jessie Spano-level binge on Comedy Crib.

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Unless you stopped paying attention to the world at large in 1989, you are of course aware that the ’90s are having their pop cultural second coming. Nobody is more acutely aware of this than Dara Katz and Betsy Kenney, two comedians who met doing improv comedy and have just made their Comedy Crib debut with the hilarious ’90s TV throwback series, The Place We Live.

IFC: How would you describe “The Place We Live” to a fancy network executive you just met in an elevator?

Dara: It’s everything you loved–or loved to hate—from Melrose Place and 90210 but condensed to five minutes, funny (on purpose) and totally absurd.

IFC: How would you describe “The Place We Live” to a drunk friend of a friend you met in a bar?

Betsy: “Hey Todd, why don’t you have a sip of water. Also, I think you’ll love The Place We Live because everyone has issues…just like you, Todd.”

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IFC: When you were living through the ’90s, did you think it was television’s golden age or the pop culture apocalypse?


Betsy: I wasn’t sure I knew what it was, I just knew I loved it!


Dara: Same. Was just happy that my parents let me watch. But looking back, the ’90s honored The Teen. And for that, it’s the golden age of pop culture. 

IFC: Which ’90s shows did you mine for the series, and why?

Betsy: Melrose and 90210 for the most part. If you watch an episode of either of those shows you’ll see they’re a comedic gold mine. In one single episode, they cover serious crimes, drug problems, sex and working in a law firm and/or gallery, all while being young, hot and skinny.


Dara: And almost any series we were watching in the ’90s, Full House, Saved By the Bell, My So Called Life has very similar themes, archetypes and really stupid-intense drama. We took from a lot of places. 

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IFC: How would you describe each of the show’s characters in terms of their ’90s TV stereotype?

Dara: Autumn (Sunita Mani) is the femme fatale. Robin (Dara Katz) is the book worm (because she wears glasses). Candace (Betsy Kenney) is Corey’s twin and gives great advice and has really great hair. Corey (Casey Jost) is the boy next door/popular guy. Candace and Corey’s parents decided to live in a car so the gang can live in their house. 
Lee (Jonathan Braylock) is the jock.

IFC: Why do you think the world is ready for this series?

Dara: Because everyone’s feeling major ’90s nostalgia right now, and this is that, on steroids while also being a totally new, silly thing.

Delight in the whole season of The Place We Live right now on IFC’s Comedy Crib. It’ll take you back in all the right ways.

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New Nasty

Whips, Chains and Hand Sanitizer

Turn On The Full Season Of Neurotica At IFC's Comedy Crib

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Jenny Jaffe has a lot going on: She’s writing for Disney’s upcoming Big Hero 6: The Series, developing comedy projects with pals at Devastator Press, and she’s straddling the line between S&M and OCD as the creator and star of the sexyish new series Neurotica, which has just made its debut on IFC’s Comedy Crib. Jenny gave us some extremely intimate insight into what makes Neurotica (safely) sizzle…

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IFC: How would you describe Neurotica to a fancy network executive you met in an elevator?

Jenny: Neurotica is about a plucky Dominatrix with OCD trying to save her small-town dungeon.

IFC: How would you describe Neurotica to a drunk friend of a friend you met in a bar?

Jenny: Neurotica is about a plucky Dominatrix with OCD trying to save her small-town dungeon. You’re great. We should get coffee sometime. I’m not just saying that. I know other people just say that sometimes but I really feel like we’re going to be friends, you know? Here, what’s your number, I’ll call you so you can have my number!

IFC: What’s your comedy origin story?

Jenny: Since I was a kid I’ve dealt with severe OCD and anxiety. Comedy has always been one of the ways I’ve dealt with that. I honestly just want to help make people feel happy for a few minutes at a time.

IFC: What was the genesis of Neurotica?

Jenny: I’m pretty sure it was a title-first situation. I was coming up with ideas to pitch to a production company a million years ago (this isn’t hyperbole; I am VERY old) and just wrote down “Neurotica”; then it just sort of appeared fully formed. “Neurotica? Oh it’s an over-the-top romantic comedy about a Dominatrix with OCD, of course.” And that just happened to hit the buttons of everything I’m fascinated by.

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IFC: How would you describe Ivy?

Jenny: Ivy is everything I love in a comedy character – she’s tenacious, she’s confident, she’s sweet, she’s a big wonderful weirdo.

IFC: How would Ivy’s clientele describe her?

Jenny:  Open-minded, caring, excellent aim.

IFC: Why don’t more small towns have local dungeons?

Jenny: How do you know they don’t?

IFC: What are the pros and cons of joining a chain mega dungeon?

Jenny: You can use any of their locations but you’ll always forget you have a membership and in a year you’ll be like “jeez why won’t they let me just cancel?”

IFC: Mouths are gross! Why is that?

Jenny: If you had never seen a mouth before and I was like “it’s a wet flesh cave with sharp parts that lives in your face”, it would sound like Cronenberg-ian body horror. All body parts are horrifying. I’m kind of rooting for the singularity, I’d feel way better if I was just a consciousness in a cloud.

See the whole season of Neurotica right now on IFC’s Comedy Crib.

The-Craft

The ’90s Are Back

The '90s live again during IFC's weekend marathon.

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Photo Credit: Everett Digital, Columbia Pictures

We know what you’re thinking: “Why on Earth would anyone want to reanimate the decade that gave us Haddaway, Los Del Rio, and Smash Mouth, not to mention Crystal Pepsi?”

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Thoughts like those are normal. After all, we tend to remember lasting psychological trauma more vividly than fleeting joy. But if you dig deep, you’ll rediscover that the ’90s gave us so much to fondly revisit. Consider the four pillars of true ’90s culture.

Boy Bands

We all pretended to hate them, but watch us come alive at a karaoke bar when “I Want It That Way” comes on. Arguably more influential than Brit Pop and Grunge put together, because hello – Justin Timberlake. He’s a legitimate cultural gem.

Man-Child Movies

Adam Sandler is just behind The Simpsons in terms of his influence on humor. Somehow his man-child schtick didn’t get old until the aughts, and his success in that arena ushered in a wave of other man-child movies from fellow ’90s comedians. RIP Chris Farley (and WTF Rob Schneider).

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Teen Angst

In horror, dramas, comedies, and everything in between: Troubled teens! Getting into trouble! Who couldn’t relate to their First World problems, plaid flannels, and lose grasp of the internet?

Mainstream Nihilism

From the Coen Bros to Fincher to Tarantino, filmmakers on the verge of explosive popularity seemed interested in one thing: mind f*cking their audiences by putting characters in situations (and plot lines) beyond anyone’s control.

Feeling better about that walk down memory lane? Good. Enjoy the revival.

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And revisit some important ’90s classics all this weekend during IFC’s ’90s Marathon. Check out the full schedule here.