I find it impossible to neatly summarize my feelings about Beasts of the Southern Wild. After the considerable hype I couldn’t help but feel a bit let down by it. I found it way too messy and all over the place, and frankly short of the mark that I could almost palpably sense it aiming for. Yet simultaneously I thought it was uniquely brilliant and loved it in a very genuine if troubled way, the way you might love a scruffy stray dog you can’t afford to take home. It’s an impossible movie not to love. I can’t remember another instance that admiration for and disappointment in a film have resided together so comfortably in my mind. It’s like I feel a sense of ownership. This is exactly my kind of film, or would be, and maybe that’s why I’m hard on it. In any case I can’t get it off my mind.

Beasts is the debut feature from writer/director Benh Zeiltin, who hails from Queens but is now based in New Orleans. It’s quickly become the most talked-about American independent film of the year, winning the Grand Jury Prize in the US Competition at Sundance before going on to win the Camera d’Or (for best new film) at Cannes. It’s even got an early Oscar buzz. The story is not easy to explain, but if you’re not already on board with the key elements you can get from a really basic blurb – little girl hero, magical realism, backwater bayous, apocalyptic storms, rampaging prehistoric beasts, post-Katrina American mythmaking, nonprofessional actors – we don’t have much in common. Little Hushpuppy and her father Wink live somewhere on the Gulf coast in an impoverished but spirited and tight-knit delta community called the Bathtub, which seems to exist in its own space and time. When a massive storm cuts the Bathtub off from the outside world, its cantakerous residents attempt to pick up the pieces in defiance of the local authorities, while all of nature seems to be turning against civilization. Meanwhile her dad’s degrading physical and mental health creates a crisis of self-reckoning for Hushpuppy at a tender age.

Beasts screened in Official Competition here at Sydney Film Festival a few weeks after Cannes with the highest possible expectations. Local fans and cinephiles went apeshit for it, and everyone assumed it would take the Sydney Film Prize in a cakewalk. Instead the jury handed the award to Greek director Yorgos Lanthimos’ Alps, an icily cynical and absurdist black comedy that bitterly divided audiences here – a controversial choice (if a stream of resentful tweets counts as controversy). Me, I think Beasts is superior to Alps on most counts, and infinitely more likeable of course, but I had to admire the jury’s cojones and privately chuckle at the monkeywrenching of a consensus.

I saw Beasts on the first Friday of the festival at the opulent State Theatre, back to back with Wes Anderson’s Moonrise Kingdom. Surely there won’t be a better or more interesting double feature all year. It was on the one hand a study in contrasts: Anderson’s obsessive perfectionism, his maniacal focus on design – each frame so lovingly composed the whole thing feels like an animated feature; versus Zeitlin’s rowdy, rambling, handheld, deliriously beautiful mess of a film. Yet the thematic parallels between the two are worth exploring: child protagonists, isolated rural communities, storms as key turning points. Going in my expectations were sky-high; I loved both films, but came out bearing reservations. (More on Moonrise later.)

Yeah, Beasts is a rough and messy film. Should I feel bad about pointing that out? Is that like complaining that Wu Tang Clan are too raw, or that Meg White isn’t the greatest drummer? Is it just part of the magic? Maybe the same thing would have been said about Breathless or Stranger Than Paradise when they first came out. Don’t we need a dose of, well, wild energy in cinema on a regular basis? If it was more polished would it also be more boring?

By “rough” I’m not referring to the often quite shaky hand-held camera – I’m fine with a bit of shake. To me the culprit is the editing. There are times during the film when two people are talking and it’s cut in such a way that somehow you never get a good look at either of their faces. Often you’re not sure of the shape of a room or space, or what exactly you’re looking at (however beautiful it might be), or which characters are taking part in a scene. (The fact that a lot of the dialogue is mumbled doesn’t help with the latter.) I suspect a re-edit might have solved some of those issues without selling out the film’s energy at all.

This pervasive sense of disorientation also applies in a macro way to the narrative. Within each scene the style of the film is naturalistic (and wonderfully so); but the overall story doesn’t have much organic sense. Fantasies need internal logic; here, because a lot of this made-up world goes unexplained, we’re not always sure what’s at stake, and there’s a disconnect between the crazy plot twists and the inscrutable choices made by the characters. At times we can almost hear Zeitlin and co-writer Lucy Alibar tapping away furiously on their MacBooks. “OK, now this has to happen!” Settings and locations change with little warning – we were in a hospital, but now we’re on a beach – while motivations and conflicts are taken up and set aside again like toys. It’s almost as if they wanted the story to reflect the short attention span and freeform imagination of a child. (A friend of mine compared it to Maurice Sendak; others have cited Miyazaki.) Does it work? I’m still deciding. My gut reaction is that it’s absolutely inspired at times – as zany and explosively creative as beat poetry or freestyle graffiti – but sloppy and incoherent at other times.

Some have said the film could have done without the prehistoric monsters. It’s true they don’t help the general problem of clutter in the story – it’s just one more thing that doesn’t tie together and isn’t fleshed out very well. But no way would I get rid of them. If anything I want more of them, along with more clarity about them. Likewise, curmudgeonly types said the dinosaurs didn’t belong in Terrence Malick’s masterpiece The Tree of Life; but that film wouldn’t be as visionary without them – the flights of fancy are what make the study of the family so much more. Zeitlin has established an important signpost with the audacious fantasy elements of his film: because special effects are a lot cheaper to accomplish these days, independent filmmakers don’t need to be stuck in the ghetto of realism anymore. Movie magic has been democratized.

Eight-year-old Quvenzhané Wallis’ performance as Hushpuppy has been the focus of much of the film’s press. If I can risk sounding cynical here, I think some of it amounts to so many indirect or quasi-intellectual ways of saying, “That little girl is so adorable!” I’m not saying her performance isn’t remarkable. I’m saying the commentary on it lacks nuance.

Of course it’s a remarkable performance! Kids can do amazing things when given the chance; but Quvenzhané has extraordinary poise and grit. As Roger Ebert wrote recently (in his review of Glendyn Ivin’s great Last Ride), “I have run out of words to account for young actors.” Without taking too much away from Quvenzhané, I would say Zeitlin also deserves credit for trusting in her and letting her do her thing in such a natural way. This is where the rough style of the film shines, in the way the girl’s rambling and running amok and randomly destroying things is such a part of its aesthetic. It’s reminiscent of the way Steven Spielberg’s early films seemed revolutionary in the way he allowed kids to just be themselves onscreen, with their cluttered rooms and cluttered lives, their dirty faces, their heartbreaking way of shrugging off adult abuse and neglect, their casual violence.

I found her high-pitched scream annoying, but the filmmakers must have thought it was cute because we get to hear it a lot. (Remember Carrie Henn’s tea-kettle-like squeal in Aliens? It sounds like that). Some of her character’s dialogue is a bit forced, and even sappy, especially when she talks about history or the future in a grandiose way – it’s as if she’s working too hard to impress the audience or pull their heartstrings. (Again, at these moments I hear the screenwriters tap, tap, tapping away.)

Quvenzhané’s best moments – indeed, the film’s best moments – are the seemingly improvised scenes with Dwight Henry, who plays Wink. There’s so much fierce affection there, so much electricity between the two, as Wink insists on toughening up his daughter to face a harsh world alone, it seems like documentary footage. With all the attention on the little girl, Henry’s gutty, gloriously ragged performance has somehow managed to fly under the radar. (His work is all the more amazing considering he’s a baker by trade who had never acted in a film before.)

There’s much more to discuss about Beasts of the Southern Wild – just one example is the fabulous production design, with beautifully chaotic sets and crazy vehicles welded together from scrap parts like something out of Mad Max Beyond Thunderdome. It’s an unforgettable film, filled with piercing ideas and images, even if it doesn’t have very good control of them. It’s the type of thing that might have blown my mind and changed the way I look at film if I’d stumbled across it as a kid late at night on cable TV – the way, say, the very messy Repo Man did. You should see it; everyone should see it – it’s definitely one of those rare indies capable of very broad appeal with little or no compromise. And years from now, when it’s considered an American classic, you can read this review in the archives and scoff at my shortsighted crotchetiness.

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