The Brown Bunny
With a notoriety that succeeds positive criticism and an 'explicit sex scenes' sticker plastered over the front cover, I was a little dubious as to what to expect from what Roger Ebert described as 'the worst film ever screened at Cannes'.
Once every so often I will see a film that desperately inspires me and causes me to get all erratic and binge on any writing, shooting and plotting whatever projects I am working on. The Brown Bunny is one of these films; it is poignant, risky and utterly diverse; an experimental conquest from one of today's most stupefying multi-talented artists.
Writer, director of photography, producer and director are just some of the film titles that are accredited to Vincent Gallo on this project, not to mention that he is the only credited male actor in the 90 minute production. Gallo invites the audience to witness the romantic, bitter tale of Bud Clay and his girlfriend Daisy as Bud drives across America with his motorcycle.
The film is an ambitious one and the fact that half of it consists of footage shot through Bud's dirty windscreen as he drives west, doesn't make it easy to watch. The dialogue is minimal throughout and it is not until the uneasy conclusion that the concept is realised and the audience is subjected to the true horrors of Bud's relationship with Daisy.
Gallo's performance is one of extraordinary poise and his talent for film making and direction is indeed superfluous. There is not a doubt in my mind that Vincent Gallo is an artist shaping to influence generations of film makers to come and nothing will stand in his way.
Copyright Daniel Emmerson 2008 all rights reserved
