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Where There's Gunsmoke, There's Gunfire
by Donald Levit
Unhysterical, sobering, yet warm, American Gun is better and more accurate than look-at-me Bowling for Columbine, which raises a dozen gut questions while managing to answer none of them. Fiction derived from traumatic happenings, it is also superior to Gus Van Sant's Elephant, a film less successful in considering the same events than arresting for its bold returns -- at different times, angles and viewpoints -- to the same corridor scenes.
Director/co-writer (with Steven Bagatourian) Aric Avelino's first feature is actually not about that central event, anyway. Rather, it takes the wise step of looking, not at a particular school massacre, but, three years afterwards, at those intimately affected, at how they live on with repressed guilt and failure. In fact, there are five stories here, crossing America, two in Oregon, the same in Chicago, and one in the Shenandoah Valley, and though characters touch within each of the three separate locales, and though all are kindred in overcoming individual isolation, those in the Pacific Northwest, Midwest and East do not come across one another, as frequently happens in such mosaic films.
Nor, finally, and as evidence that the goal is neither a superficial look at causes nor at immediate bloody consequences, is there a high graphic body count, as current movies go. Two brief un-gory single-bullet shootings, a few missed shots at a gas station, one vague attempted date rape, one barely glimpsed body in a school parking lot, and a bitter but unphysical neighborhood row. Important for their effects on the protagonists, none of these distracts with the usual loving slow-motion voyeurism, and the one great violence is aural and not visual at all, heard against simple white credits on black as, opening and especially closing, an unidentified hysterical Rebecca screams to a would-be calming 911-operator as murderers close in and officers rush to the scene.
In Ellisburgh, Oregon, Newsline interviews a nervous, abstracted Janet Huttenson (Marcia Gay Harden) about her son Robbie's participation with another in the random shootings and killings at public Ridgeline High School. Answering insensitive but probing questions, she is evasive, never saw it coming and, though naturally grieving for the dead and their families, is not responsible. She has consented to this televised torture because, working two jobs, she is alone and needs money to keep surviving son David (Chris Marquette) at the St. Anthony's prep school and out of Ridgeline. Three years younger, so now at the same age as his infamous dead brother at the time of the rampage, David is withdrawn, uneasy with his protective mother and resentful of her boyfriend Barry (Todd Tesen), and explodes when the private academy decides it's better for all concerned that he should withdraw. That leaves the public institution, the only saving grace of which is sympathetic new fellow student Tally (Nikki Reed), whom he arranges to meet one evening.
Nosey Newsline intimates police responsibility and failure, and inserts clips of the catastrophe and of Officer Frank Essel (Tony Goldwyn), who phones the station to object to this unauthorized invasion of his privacy. Assuring him that "you have a job here," superiors on the force ask that he appear on television to rebut the insinuations and also see a department psychologist (Lee Garlington).
Half-a-country away, Carter (Forest Whitaker, who also executive produced) is devoted to helping students and parents at Chicago's West Side ghetto Taft High School. A predecessor's metal detectors are succeeding at keeping guns and violence relatively at bay, but Principal Carter is losing his young son and wife Sara (Garcelle Beauvais-Nilon). The thankless job gives no time to talk or pal around with the boy, and the wife objects to his late hours and laments the better position she left behind in bucolic Ohio. Personally removing litter from the steps, he catches academic ace Jay (Arlen Escarpeta) stashing a handgun which he got from a friend for protection while studying at a night job in the cashier's cage of a gas station-liquor store. Though the firearm technically did not enter the school, the penalty should be expulsion for the serious, goal-oriented boy.
Five-hundred miles further east, Maryanne Wilk (Linda Cardellini) is an unhappy freshman at the University of Virginia, her family's traditional college. She now feels estranged in what was her childhood hometown and is silent working in grandfather Carl's (Donald Sutherland) King's Gun Shop. White-haired and –bearded, he terribly misses his deceased wife and the closeness once shared with this granddaughter. Shaken by friend Cicily's (Schuyler Fisk) fraternity-house drugging and near rape, Maryanne learns to shoot and is fascinated when her own hand is used to model a pistol grip.
With fewer loose ends than normal -- though a spray-painted plastic gun leaves unanswered worries -- each of these related but separate tales moves toward a renewal of communication. If a resolution to great grief exists, it lies not in fashionable public ceremonies of closure, but in open contact with others' hearts and the re-forging of what Nathaniel Hawthorne saw as the great magnetic chain of humanity.
(Released by IFC Films and rated "R" for violent content and language.)
Aric Avelino's 'American Gun' Casts Handguns as the Villain
By STEPHEN HOLDEN
Published: March 22, 2006
Put the word "American" in front of almost any noun, and you have a title that trumpets its own self-importance. And when that noun is "gun," and the project is a movie, the title implies an imminent bloodbath. But "American Gun," the debut film of Aric Avelino, who wrote the screenplay with Steven Bagatourian, is nothing like that. A stridently sorrowful polemic against the proliferation of handguns in the United States, it consists of three fictional vignettes, of which only one ends in a shooting death. Preferring to throw up its hands rather than shout itself hoarse, the film sustains a mood of paranoia faintly tinged with hope.
Sam Emerson/IFC Films
Marcia Gay Harden as Janet, and Christopher Marquette as David.
Forum: Movies
Each story is set in a different part of the country. In an Oregon town, three years after a Columbine-like high school massacre, the community hasn't recovered from the trauma, and its crude attempts to address the tragedy only succeed in rubbing fresh salt in still-open wounds.
At a Chicago high school in a gang-plagued neighborhood, the principal, driven to his wits' end to maintain order, threatens one of his most promising students with expulsion after catching him with a handgun. In the weakest vignette, a troubled Virginia college student works part time in her grandfather's gun store and develops a fascination with firearms.
If "American Gun" avoids the most obvious kinds of sensationalism, it has the flaw common to many editorial broadsides of overstuffing its episodes with melodrama and symbolism. Its agenda is similar to that of "Crash" but not as fully realized. Nor does it try, like "Crash," to gather its stories into a tightly woven schematic fabric. "Crash" leaves you feeling almost pummeled; the residue of "American Gun" is a nagging sense of hopelessness.
In the richest of the three stories, Marcia Gay Harden plays Janet Huttenson, the financially strapped working-class mother of David (Christopher Marquette), the younger brother of one of the two killers in the Oregon massacre. Working two jobs, she had been able to send David to a private school. Now she can no longer afford it, and he faces the unbearable prospect of attending the same public high school as his notorious brother, who shot himself.
Desperate for money, Janet agrees to do a paid interview on local television and finds herself pelted with hostile questions about her responsibility for the shootings. A pariah in her neighborhood, she already lives in an emotional prison of self-doubt made worse by David's hostility toward her. Ms. Harden, bravely refusing to soften her character, fully inhabits Janet, a shrill, overstressed single mother who is as baffled by the tragedy as all those who assume she is the repository of guilty family secrets.
Dwelling in a similar hell, Frank (Tony Goldwyn), the police officer who was the first on the scene of the massacre, is pressured by his bosses to go on television and face a similar interrogation, but his story is too sketchy to have much impact. Examining a community where everyone is looking for a scapegoat, the episode settles on a too convenient one: crass local television.
The Chicago section revolves around Principal Carter (Forest Whitaker), who moved there from Ohio specifically to help inner-city students. But the task is so draining that he has no time left over for his wife (Garcelle Beauvais-Nilon) and young son, and the marriage is strained to the breaking point. After Carter catches one of his best students, Jay (Arlen Escarpeta), with a handgun, the movie leaves him to follow the boy to his job in the cashier's cage at a gas station and convenience store where he needs the gun as protection against robbers. The film's most unsettling image finds Jay cowering in his cage to avoid being shot.
In the most undeveloped story, Mary Ann (Linda Cardellini), a troubled freshman at the University of Virginia, working in the gun shop of her recently widowed grandfather Carl (Donald Sutherland), learns to shoot after witnessing the drugging and near rape of her best friend at a fraternity house.
For all its seriousness, "American Gun" falters on the contradictions at the core of most issue-oriented dramas. The movie's attempt to make a strong statement involves simplifying and ultimately falsifying its characters and situations to score polemical points.
"American Gun" is rated R (Under 17 requires accompanying parent or adult guardian). It has violence, strong language and a scene of near rape.
American Gun
Opens today in Manhattan.
Directed by Aric Avelino; written by Mr. Avelino and Steven Bagatourian; director of photography, Nancy Schreiber; edited by Richard Nord; music by Peter Golub; production designer, Devorah Herbert; produced by Ted Kroeber; released by IFC Films. At the Landmark's Sunshine Cinema, 139-143 East Houston Street, East Village. Running time: 94 minutes.
WITH: Donald Sutherland (Carl), Forest Whitaker (Carter), Marcia Gay Harden (Janet), Linda Cardellini (Mary Ann), Tony Goldwyn (Frank), Christopher Marquette (David), Nikki Reed (Tally), Arlen Escarpeta (Jay), Garcelle Beauvais-Nilon (Sarah), Amanda Seyfried (Mouse), Melissa Leo (Louise) and Schuyler Fisk (Cicily).
I still can't see the sense of duct-taping a shirt for screen. I looked at the pics a second time and for me the shirt doesn't look taped. It seems like you can still read the letters over the duct-tape. It's hard to explain for me in English, sorry.
I vote for the Recreation pic so far.
Me too. That's my alltime favorite episode. At least the end of it.
Joan's an idiot for treating him the way she does in that ep!
Oh yeah. <sigh> You don't have to tell ME that.
Oh and maybe I should mention the sound examples from my computer, too.
I think it's the shirt is made that way. It makes no sense to me that they wanted Adam to wear something they have to cover on screen.
And TIna, why did you post the POV caps backwards?
Aaaawww, this is SO CUTE!!!
Don't you think that it is weird that I have a clock that shows what time it is in L.A.?
I mean, I am 9 hours ahead. Oh God, I am scaring myself. LOL
Loooove the Recreation Pic!!!
I'll look for some pictures tomorrow, I really have to go to bed now.
I like the "pting". LOL
I actually thought about getting a little "collection" of my favorite pictures for the frame. So I can change it if I want. Like some James pic and something like that.
Ok, here is it.
My Chris Time Zone Clock with the "Adam guckt so" picture. It's currently showing L.A. time again, because I don't know for sure in which time zone he is at the moment.
Oh God, I'm insane, right? Where are the guys with the strait jacket? LOL
Should I mention my time zone clock, too?
I just saw a little snippet from the Award show on TV. Johnny Depp and Orlando Bloom both won a surfboard. What cool award! LOL
And there was something that really shocked me. Britney Spears introduced her husband as a singer. Seriously, they call THAT crap "music"?
Well, it's not the right thread for discussing it (and I think this isn't necessary either), just wanted to say this.
Hey, I was just thinking ... Marc has come a long way from the Wet Dream Ep ("I didn't even have my tongue in a girl's mouth yet.") to the BMI Episode ("Define first moment."), huh?
Well, that leaves us pining for one of his movies to come out. He really doesn't give his fans a lot of interim screen exposure, does he? Who knows what project he's off to right now. Probably working his ass off, the little gorgeous rubber face that he is. Maybe he's already working on My Tutor.
-TeeJay
Yeah, I think so too. And by the way, the Keanu Reeves/Sandra Bullock movie is called The Lake House.
The hair? I bet she'll rather like the eyebrows. LOL
Ha ha ha. We should do a contest who can best imitate that cap.
Oh Man. I wish we could have American Television here. Or at least the undubbed version of all the shows. The dubbing is so unnecessary and SILLY!!! Why, oh WHY can't we have the original voices with subtitles like all the other countries? But nooo, in Germany everything must be dubbed!
Wow, cool! I wish I could see this!
I have my own rings and some of them look like the ones Chris has, so I don't need to buy new ones.
I have seen Jane in reality, I can assure you that she is light-blue.
And BMI is my all-time fave Marc ep!
Well, I know just a few of his episodes, but I think this one is my favorite too.
Yes, they're so cute. I just love the last ones of the Adam/Grace scene. Rubber face in action.
Oh yeah, they're so cute. I love them too. I think I'll save my favorite ones.