Criterion Sunday 336: Dazed and Confused (1993)

I avoided this when it was first released in cinemas, though I was about the same age as the characters in the film, because it was marketed as a stupid high school movie and it didn’t appeal to me at the time. It also had the sense of being a very indulgent nostalgic look back at the 70s, and that’s a criticism that’s more difficult to avoid because in a sense it is, in addition to which indulging his characters is very much a Linklater trademark. Watching it again many years on, though, that feels like the thing that’s aged best — this sense that almost all the characters have some redeeming quality even if they are sleazy creeps (like McConaughey’s older Wooderson, cruising the high school to pick up girlfriends) or big dumb jocks (like Sasha Jenson’s Don). There’s even a glimmer of humanity in Ben Affleck’s O’Bannion, but not much because he’s the real bad guy here, a grinning sadist who has to retake his final year at school. However, there’s no manufactured hostility between the jocks and the geeks here; sure there’s a bit of back and forth in the conversations, but nobody avoids anyone else and friendship groups seem to cut across these distinctions, plus there’s a sense of generational camaraderie even in the sadistic hazing rituals.

However, like much of Linklater’s oeuvre, it’s a hang-out film where nothing really happens. People just cruise around and ping off each other — not as literally as the tangential sidetracking of Slacker (1990) — but still with no clear sense that they’re all working towards anything except the next beer or the next party. But that sense of aimlessness going towards college and the future, which is encapsulated in the final shot on the road, that’s something that Linklater’s been doing for decades in many of his films, capturing a mood or an era, a sense of uncertainty in his characters, and it’s perfectly done here, with lots of people who would go on to have acting careers (or not), but who just seem right for the roles.

CRITERION EXTRAS:

  • There are plenty of extras, but the main one is Making Dazed (2005, dir. Kahane Corn), a pretty straight-down-the-line documentary about the making of a film, albeit one that had been in production for over a decade it seems. The director has extensive interviews with the cast both at the time of filming and a decade later, as several of them gather for an anniversary screening. Of course many of the faces are now familiar to us (or at least a bit more familiar) and they all clearly have fond memories of the film that was the first experience of filmmaking for a lot of them. It’s good to hear the stories, and see some of the making-of footage, and it’s good to think about how far some have come from these horny Texan teenagers, but it evokes a warmth of feeling at the very least.
  • A lot of the footage from the making-of documentary is also available as extras, including the full clips of most cast members in the first week of filming explaining their characters, as well as interviews conducted on set and behind-the-scenes footage of the filming. Amongst these are also a few more recent interviews — including one with Linklater, his casting director and McConaughey speaking about how the latter got involved (some of which is also in the finished documentary) — and some brief footage from the anniversary cast reunion.
  • Most of the audition tapes of the various cast members are also included as extras, which can be interesting to watch, although the quality is obviously rather poorer, being shot on video.

FILM REVIEW: Criterion Collection
Director/Writer Richard Linklater; Cinematographer Lee Daniel; Starring Jason London, Wiley Wiggins, Sasha Jenson, Parker Posey, Matthew McConaughey, Adam Goldberg, Ben Affleck; Length 102 minutes.

Seen at home (Blu-ray), London, Saturday 11 July 2020 (and earlier on TV at home, London, Saturday 19 April 2014).

Columbus (2017)

One of the more interesting releases at the end of this week in the UK is The Farewell, a new film directed by Lulu Wang about a young Chinese-American woman who travels to China to deal with the death of her elderly grandmother. Therefore I’m inaugurating a week focusing on what I’m going to call Asian diaspora filmmaking (mostly, to be fair, from the United States).

I should clarify what I mean here, because it’s fairly common for films to feature characters in (often glamorous) overseas settings. For example, the Chinese film Finding Mr Right 2 (2016) is set in Macau and Los Angeles, while Bollywood film Shaandaar (2015) is set amongst the posh country homes of the UK. However, while these were made within their local film industry, there have always been filmmakers in the US and UK with Asian ancestry or who have relocated to the West to make their films, stretching back even to silent cinema (Marion Wong’s The Curse of Quon Gwon from 1917 is a recently-unearthed, if sadly incomplete, example).

There’s been quite a proliferation of Asian-American films in recent decades, and while tentpole films like the recent Crazy Rich Asians or, earlier, The Joy Luck Club (1993) are often mentioned, it’s been in smaller scale indie filmmaking that the presence has been most felt. On this blog I’ve already reviewed the thoroughly delightful Saving Grace (2004), the sci-fi film Advantageous (2015) and the Indian-American documentary Meet the Patels (2014), but there have been many other interesting genre exercises that I hope to feature in the upcoming week. One such was by Korean-American filmmaker Kogonada, who made a name for himself with little cinephile short films about his favourite auteurs, but his own work turns out to have its very own delights.


I can’t pretend this film doesn’t hit exactly the kind of tone and style that I love in cinema, and obviously it turns out it’s directed by a man who has studied (and made short films about) all the great auteurs, so I’m sure he’s out there just as pointedly referencing Bresson and Ozu and Antonioni when he’s making the film as anyone watching it (like me) is reading into it. Which all retrospectively makes me suspect some of the craft a little — as if it’s just too carefully controlled, just too preciously wrought. I’ve never seen a film that features architecture so heavily (Antonioni, or La Sapienza perhaps) that’s not a little bit about alienation, about people not connecting with one another, broken families and the like, so at a certain level it’s hardly breaking new ground. But John Cho and Haley Lu Richardson have proper screen charisma — without any confectedly creepy relationship drama — and, as I said, I love the openness and space of the framing, and the deployment of quietness (along with the occlusion of sound at times, or the use of untranslated foreign language). I’ve been watching quite a few Ozu films recently; I suspect Kogonado may have been, too.

Columbus film posterCREDITS
Director/Writer Kogonada 코고나다; Cinematographer Elisha Christian; Starring John Cho 조요한, Haley Lu Richardson, Parker Posey, Rory Culkin; Length 104 minutes.
Seen at Curzon Bloomsbury, London, Tuesday 9 October 2018.