Criterion Sunday 407: Mala Noche (aka Bad Night, 1986)

Gus Van Sant’s feature debut, and I suppose it fits loosely into the era’s “New Queer Cinema”, though it stands apart but not having quite the same counter-cultural self-consciousness perhaps, by which I mean this is loose and poetic and less political in nature. It’s about this one guy, Walt (Tim Streeter), a real person upon whose autobiography it’s based, who happens to be chasing a young man (Johnny, played by Doug Cooeyate). For a low-budget film it uses its lack of resources well, creating a monochrome aesthetic heavy on the pools of light and shadow, with an evocative sense of style in these little moments snatched from something of a Nouvelle Vague feeling. That said, its protagonist is this struggling young guy running a shop who seems to have a big opinion about himself and his pursuit of younger Mexican guys, whom he isn’t even sure are 18, is callously objectifying. A lot of the film is in Spanish, but Walt doesn’t much seem to care about his enamorado Johnny, so much as about the chase. It makes for a film that’s about race and class and power in ways that aren’t always comfortable, and don’t always feel fully examined, because they’re the politics of young men looking for sex.

NOTE: The Criterion edition lists this as 1985, though it appears from IMDb that its earliest public appearance at festivals was in 1986 but those dates may not be exhaustive.


FILM REVIEW: Criterion Collection
Director/Writer Gus Van Sant (based on the novel by Walt Curtis); Cinematographer John J. Campbell; Starring Tim Streeter, Doug Cooeyate, Ray Monge; Length 78 minutes.

Seen at home (DVD), Wellington, Saturday 13 March 2021.

Criterion Sunday 277: My Own Private Idaho (1991)

It’s time for me to try something with my regular weekly Criterion Collection posts. I’m not changing the way they look or anything fundamental, but I have decided I am going to try to post two a week (both on Sunday, morning and evening). After all I’m fairly sure Criterion are adding around four new films every month, so it’s not looking like I’m going to catch up with them anytime soon. Therefore, I’ve taken the difficult decision to double my output on this, which means I’m going to need to watch twice as many each week if I’m to keep up. Therefore we’ll see how long this period of double-posting lasts.


It’s an odd one this, a film from the burgeoning independent gay cinema that was starting to move towards the mainstream, but looping in references (and sometimes entire speeches) from Shakespeare’s histories, without very much blurring between these two disparate registers. Its chief protagonists are Mike (River Phoenix), a directionless street hustler in Portland Oregon, who meets Scott (Keanu Reeves), who has chosen a life of hedonistic pleasure in defiance of his wealthy father, and both end up on a sort of road trip, though much of the trip seems to be more inside these characters’ heads. A Falstaffian figure is provided in the shape of Bob (William Richert), who acts like the boss of this loose coalition of street denizens, though beyond that it’s difficult to clearly set out what happens in the film given its fragmentary narrative structure, somewhat akin to the narcolepsy that afflicts Mike periodically. However, there’s enough looseness to allow small roles to odd and amusing characters, not least of all Udo Kier’s Hans, who does a dance with a lamp that’s probably the film’s comedy highlight. Elsewhere there are soliloquies and deadpan line readings that impart a rather glorious bathos to the proceedings, discursive as they are.

(Written on 8 February 2016.)


FILM REVIEW: Criterion Collection
Director/Writer Gus Van Sant (loosely based on the plays Henry IV Part 1, Henry IV Part 2 and Henry V by William Shakespeare); Cinematographers John J. Campbell and Eric Alan Edwards; Starring River Phoenix, Keanu Reeves, William Richert; Length 102 minutes.

Seen at home (Blu-ray), London, Saturday 6 February 2016.