Review of Gerry (2002) by Rory P — 09 Aug 2009

Savides' cinematography is the only thing going for this hypnotic, yet ultimately disappointing film. And the cinematography is nothing more than watered down Gabor Medvigy (hello shots lifted directly from Satantango and Damnation).

I was interested in how Van Sant would channel Tarr's style. Tarr is much slower and a lot more complex in his staging and cinematography, but it isn't meant solely for an artistic statement. His 10 minute takes of people walking are integral to the film as a reprieve from the previous action so that the audience can consolidate and understand the information previously given to them. Van Sant uses Tarr's influence as nothing more than an artistic means to cover up a horrible end.

Taken outside the inevitable comparisons to Tarr, the film is still a failure. Had Van Sant given the audience something worthwhile to mull over instead of cheap and shallow ruminations on death, then perhaps the film and style would be justified. Van Sant could have easily dealt with fault, identity, isolation, hope, defeat, nature as a guiding and destructive force and, of course, existentialism (a Tarr essential). While some of these concepts and themes are introduced, they are quickly forgotten.

When your film focuses on two people walking, you need some well developed and intelligently explored theme(s) to fall back on. Altman's Secret Honor has only one character, but he fully explores redemption, duty, honor, class, isolation and the morality of politics.

But, my God, the cinematography is wonderful. Even if it is Medvigy Spark Notes, Savides is still one of the great contemporary cinematographers.