DID YOU READ

Shelf Life: Richard Linklater’s “Dazed and Confused”

Matthew McConaughey in "Dazed and Confused"

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Today, Richard Linklater’s latest film “Bernie” arrives in theaters. It’s the director’s fifteenth feature film – at least since “Slackers” made a national splash in 1991 – and he, like a number of other filmmakers who emerged in the early ‘90s, has enjoyed more of a flirtation with mainstream moviemaking than a full-fledged relationship. But Linklater’s sophomore effort “Dazed and Confused” was as good a second date as anyone’s likely to have if they want to break into Hollywood proper, at least in terms of highlighting the filmmaker’s ability to manage a large ensemble, much less shepherd a film onto the screen that feels at once purposeful and effortless.

But with 20 years of filmmaking between the release of that film and “Bernie,” it’s interesting to see how much he’s grown, or perhaps regressed, and more to the point, whether that film continues to leave as strong and clear an impression as it did in 1993.


The Facts

Released September 24, 1993, “Dazed and Confused” was an immediate critical darling, but distributor Gramercy Pictures was unable to translate that into commercial success. Earning just shy of $8 million during its theatrical run, the film was hardly a hit, but it became a touchstone for the generation of moviegoers who were within the age range of the characters depicted in it. It currently lingers at 98 percent fresh on Rotten Tomatoes, and Quentin Tarantino put it on his list of the ten greatest films of all time in a 2002 article for Sight and Sound magazine.


What Still Works

Structurally, what works best about the film is that there’s not one single development or storyline that feels forced. Even with a group of characters carefully orchestrated to be representative of two generations of students, passing the torch from one to another, and the narrative throughlines that make the film’s time frame a coming-of-age experience even for the ones who feel like they’re running things, there’s nothing hurried or calculated about the structure of the film. Each new scene flows smoothly from the previous one, and each character’s behavior feels authentic and lived-in, whether they’re meant to be a hero (Mitch Kramer), villain (O’Bannion), or something in between (Wooderson).

The opening sequence, set to the beautiful strains of Aerosmith’s simmering classic “Sweet Emotion,” perfectly introduces all of the characters and defines in some way what their journey will be. For Randall “Pink” Floyd (Jason London), he has to decide whether or not he’ll sign a piece of paper committing himself to another year playing football, with the added proviso that he won’t partake in drugs or alcohol while doing so. For most of his teammates, they want to see him sign it – even just to get the grown-ups off their backs – so they can go through their senior year as kings of the school. For Mitch Kramer (Wiley Wiggins), he’s got to first survive the tanning of a lifetime from seniors who want to haze him as he enters high school, and then he’s got to assimilate himself into a more grown-up world, which includes drugs, girls and a social hierarchy in which he’s positioned to be Floyd’s heir.

This particular thread is handled beautifully: he’s a star pitcher in junior high, and when Floyd takes him under his wing, he tells Kramer that he got hazed “right after baseball practice,” hinting at the trajectory that Mitch might take as he enters high school. Known and liked by classmates from all different social castes – just like Floyd – Mitch is appropriately awkward while still being the sort of kid to whom things ultimately come easily, making him the sort of versatile leader that Floyd became during his tenure in high school.

But Sabrina (Christin Hinojosa) is effectively Mitch’s female counterpart, recruited by Mitch’s older sister Jodi (Michelle Burke) to join in the victimhood en route to becoming a power player of sorts as they enter high school. Her interest in Tony (Anthony Rapp) speaks both to her ambition to be older and more grown up, and also her very real substance and intelligence, which connects more tangibly with a “nerdier” guy than someone Parker Posey’s character Darla might like.

Meanwhile, the film’s general attitude of acceptance of all of this behavior – good and bad – gives it an even-handed portrait of adolescence is typically portrayed either purely nostalgically or from a deeply pessimistic and critical point of view. For every terrible thing that Don (Sasha Jenson) says about or to a girl, for example, there’s almost always someone there to acknowledge how degrading, reprehensible or just stupid it is. Tony, Cynthia (Marisa Ribisi) and Mike (Adam Goldberg) openly comment upon the way that the entire community has accepted the ritualistic hazing of incoming high schoolers, and while that doesn’t necessarily suggest that the film accepts that behavior as tacitly, it observes that for better or for worse, this is a part of growing up that was, is and can be formative to many teenagers, even if it’s awful, painful or traumatic.

But thankfully, the film also recognizes that as bad as some of it is in the moment, it’s also a part of growing up that everyone will or perhaps should experience, because it’s a trial to examine what sort of person you might become. (That Tony and Sabrina have a specific conversation about the formation of personalities only punctuates this idea in the film.)

Cinematically, it exudes a visual and cultural authenticity in that it doesn’t paint the entire film with the broad brush of “‘70s style was horrendous,” but it keenly observes the variety of people and personalities and how they all chose to express or define themselves through their clothing and appearance. While I certainly wasn’t around (I was about six months old) at the time in which the film takes place, it has a sort of glossy, vivid look – thanks to ace cinematographer Lee Daniels – that’s at once nostalgic and real, and the characters don’t feel anachronistic or deliberately reflective of attitudes that benefit from the perspective of hindsight, even if there are several jokes in the film that hint at their naivete that this can only get better, and/ or what they’re dealing with at the time sucks.


What Doesn’t Work

While I think Jason O. Smith gives a wildly uneven and mostly terrible performance as Melvin – an opinion which appears to be reinforced in the fact he never worked as an actor again – I don’t think there are any parts of the movie that “don’t work.” Even when he’s being sort of awkward and actorly in delivering lines at key times in a sequence of events, however, they are less jarring than conspicuously structured, and the rest of the performances are so naturalistic, lived-in and believable, his is ultimately of negligible impact to the rest of the film.


The Verdict

“Dazed and Confused” may or may not be on of the ten greatest movies ever made, according to Tarantino, but it’s a masterpiece, now or at any other time. Artistically it has an honesty and a purity without being needlessly highfalutin, intellectual or disconnected from simply being hugely entertaining. And ultimately the reason for its timelessness and longevity is that what the film has to say is that that time in every person’s life is essentially the same, no matter what generation you’re a part of – which is to say that it’s awful, fantastic, the best things will ever be, as well as the worst, and probably most importantly, having those feelings as if no one ever before or ever again had them. The perspective that the specificity of teenagers’ experience makes their set of circumstances totally unique to all other moments in the history of teenagers – and that, oddly, that specificity only reinforces the universality of all teenagers’ experiences at that time — and the endless relatability of the film to audiences as a result.

Leave your own thoughts on “Dazed and Confused” in the comments below, or on Facebook or Twitter.

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Hard Out

Comedy From The Closet

Janice and Jeffrey Available Now On IFC's Comedy Crib

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She’s been referred to as “the love child of Amy Sedaris and Tracy Ullman,” and he’s a self-described “Italian who knows how to cook a great spaghetti alla carbonara.” They’re Mollie Merkel and Matteo Lane, prolific indie comedians who blended their robust creative juices to bring us the new Comedy Crib series Janice and Jeffrey. Mollie and Matteo took time to answer our probing questions about their series and themselves. Here’s a taste.

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

Mollie & Matteo: Janice and Jeffrey is about a married couple experiencing intimacy issues but who don’t have a clue it’s because they are gay. Their oblivion makes them even more endearing.  Their total lack of awareness provides for a buffet of comedy.

IFC: What’s your origin story? How did you two people meet and how long have you been working together?

Mollie: We met at a dive bar in Wrigley Field Chicago. It was a show called Entertaining Julie… It was a cool variety scene with lots of talented people. I was doing Janice one night and Matteo was doing an impression of Liza Minnelli. We sort of just fell in love with each other’s… ACT! Matteo made the first move and told me how much he loved Janice and I drove home feeling like I just met someone really special.

IFC: How would Janice describe Jeffrey?

Mollie: “He can paint, cook homemade Bolognese, and sing Opera. Not to mention he has a great body. He makes me feel empowered and free. He doesn’t suffocate me with attention so our love has room to breath.”

IFC: How would Jeffrey describe Janice?

Matteo: “Like a Ford. Built to last.”

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

Mollie & Matteo: Our current political world is mirroring and reflecting this belief that homosexuality is wrong. So what better time for satire. Everyone is so pro gay and equal rights, which is of course what we want, too. But no one is looking at middle America and people actually in the closet. No one is saying, hey this is really painful and tragic, and sitting with that. Having compassion but providing the desperate relief of laughter…This seemed like the healthiest, best way to “fight” the gay rights “fight”.

IFC: Hummus is hilarious. Why is it so funny?

Mollie: It just seems like something people take really seriously, which is funny to me. I started to see it in a lot of lesbians’ refrigerators at a time. It’s like observing a lesbian in a comfortable shoe. It’s a language we speak. Pass the Hummus. Turn on the Indigo Girls would ya?

See the whole season of Janice and Jeffrey right now on IFC’s Comedy Crib.

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Die Hard Dads

Inspiration For Die Hard Dads

Die Hard is on IFC all Father's Day Long

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Photo Credit: Everett Collection, GIPHY

Yippee ki-yay, everybody! It’s time to celebrate the those most literal of mother-effers: dads!

And just in case the title of this post left anything to the imagination, IFC is giving dads balls-to-the-wall ’80s treatment with a glorious marathon of action trailblazer Die Hard.

There are so many things we could say about Die Hard. We could talk about how it was comedian Bruce Willis’s first foray into action flicks, or Alan Rickman’s big screen debut. But dads don’t give a sh!t about that stuff.

No, dads just want to fantasize that they could be deathproof quip factory John McClane in their own mundane lives. So while you celebrate the fathers in your life, consider how John McClane would respond to these traditional “dad” moments…

Wedding Toasts

Dads always struggle to find the right words of welcome to extend to new family. John McClane, on the other hand, is the master of inclusivity.
Die Hard wedding

Using Public Restrooms

While nine out of ten dads would rather die than use a disgusting public bathroom, McClane isn’t bothered one bit. So long as he can fit a bloody foot in the sink, he’s G2G.
Die Hard restroom

Awkward Dancing

Because every dad needs a signature move.
Die Hard dance

Writing Thank You Notes

It can be hard for dads to express gratitude. Not only can McClane articulate his thanks, he makes it feel personal.
Die Hard thank you

Valentine’s Day

How would John McClane say “I heart you” in a way that ain’t cliche? The image speaks for itself.
Die Hard valentines

Shopping

The only thing most dads hate more than shopping is fielding eleventh-hour phone calls with additional items for the list. But does McClane throw a typical man-tantrum? Nope. He finds the words to express his feelings like a goddam adult.
Die Hard thank you

Last Minute Errands

John McClane knows when a fight isn’t worth fighting.
Die Hard errands

Sneaking Out Of The Office Early

What is this, high school? Make a real exit, dads.
Die Hard office

Think you or your dad could stand to be more like Bruce? Role model fodder abounds in the Die Hard marathon all Father’s Day long on IFC.

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Founding Farters

Know Your Nerd History

Revenge of the Nerds is on IFC.

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Photo Credit: Everett Collection, GIFs via Giphy

That we live in the heyday of nerds is no hot secret. Scientists are celebrities, musicians are robots and late night hosts can recite every word of the Silmarillion. It’s too easy to think that it’s always been this way. But the truth is we owe much to our nerd forebearers who toiled through the jock-filled ’80s so that we might take over the world.

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Our humble beginnings are perhaps best captured in iconic ’80s romp Revenge of the Nerds. Like the founding fathers of our Country, the titular nerds rose above their circumstances to culturally pave the way for every Colbert and deGrasse Tyson that we know and love today.

To make sure you’re in the know about our very important cultural roots, here’s a quick download of the vengeful nerds without whom our shameful stereotypes might never have evolved.

Lewis Skolnick

The George Washington of nerds whose unflappable optimism – even in the face of humiliating self-awareness – basically gave birth to the Geek Pride movement.

Gilbert Lowe

OK, this guy is wet blanket, but an important wet blanket. Think Aaron Burr to Lin-Manuel Miranda’s Hamilton. His glass-mostly-empty attitude is a galvanizing force for Lewis. Who knows if Lewis could have kept up his optimism without Lowe’s Debbie-Downer outlook?

Arnold Poindexter

A music nerd who, after a soft start (inside joke, you’ll get it later), came out of his shell and let his passion lead instead of his anxiety. If you played an instrument (specifically, electric violin), and you were a nerd, this was your patron saint.

Booger

A sex-loving, blunt-smoking, nose-picking guitar hero. If you don’t think he sounds like a classic nerd, you’re absolutely right. And that’s the whole point. Along with Lamar, he simultaneously expanded the definition of nerd and gave pre-existing nerds a twisted sort of cred by association.

Lamar Latrell

Black, gay, and a crazy good breakdancer. In other words, a total groundbreaker. He proved to the world that nerds don’t have a single mold, but are simply outcasts waiting for their moment.

Ogre

Exceedingly stupid, this dumbass was monumental because he (in a sequel) leaves the jocks to become a nerd. Totally unheard of back then. Now all jocks are basically nerds.

Well, there they are. Never forget that we stand on their shoulders.

Revenge of the Nerds is on IFC all month long.

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