Jackpot

If this was 1972, Jackpot would star Jack Nicholson as a talented, but down on his luck musician searching the dusty corners of the country looking for his big break and the pieces of his squandered life. Critics would hail it as being gritty and brave. But Jackpot takes place in the here and now. And while it's hero is searching the dusty corners of the country looking for his big break and the pieces of his squandered life, he is utterly talentless, mean spirited, self centered, and a pathetic jerk to boot. Needless to say, critics did hail Jackpot in the least. Which, I can't blame them for. A year and a half ago I left the theater feeling I experienced nothing more than a loss of $10. I felt the film was pointless, aimless, and without any real payoff. But, after 5 blocks on the walk home I realized, so are the lives of the characters.

Therein lies the beauty of the film. It's the man behind the legend that was never a legend to begin with (except in his own mind). It's a '70s anti-hero film except with the sense to show the "hero" for who he really is. Not a tortured genius. But, only a loser with delusion of tortured genius.

And, upon repeated viewing it's aimlessness becomes invisible. In fact, the script is militant in it's tightness. But, the direction never chooses to hit you over the head with it's plot or it's points.

Instead, opting to throw them about almost offhanded, allowing them to seep in (as it did for me, and perhaps not for others).

Jackpot is rich in it's rewards to those who pay attention. And besides, any film that can go from being terrible to great in 5 blocks has to be worth something.

I probably expected too much from Jackpot, since it was the winner of the 2002 IFP/West Indie Spirit Award for "Best Feature under $500,000 Budget". What I want to know, is how can you cast Jon Gries, Garrett Morris, Darryl Hannah, Adam Baldwin, Peggy Lipton, Mac Davis and Anthony Edwards in an indie film and still come out with a budget under $500,000? I thought I read somewhere that Edwards made approximately that much from one episode on "ER"?

There are several good acting performances in Jackpot, but nothing that jumped out at me as being something really noteworthy. A lot of publicity surrounded the fact that this film was shot in high-definition digital format and transferred to 35mm for theatrical release. The story starts out like it's going to be fairly interesting, then degenerates into something murky and confused. What is the point? Who is the protagonist? Who are we supposed to care about here?

I won't give a plot summary rehash here. Suffice it to say that the pink Cadillac is almost one of the high points and the pretentious monologue that provides a narrative soundover in places in this film was absolutely unappealing and unenlightening. Good performances by the name talent (who apparently appeared for very little financial compensation, if we are to believe the budget numbers) as well as good cinematography by M. David Mullen saved this film from the disaster that it might have been, if the Polish brothers had to make it for under $500,000 without benefit of all the name acting talent and Mullen's visual artistry. Apparently the overall response to the film was closer to mine than to the IFP voters: the film grossed less than $50,000 in nine weeks of very limited theatrical release.

In "Jackpot", the Polish brothers tell the story of a character who is more curious than interesting - a soap-selling professional karaoke hustler (Gries) with his own agent (Morris) and impossible dreams of making it as a pop singer. The film has a good premise and an excellent execution but is doubtless destined to be one of those fringe indies with earnest integrity which flies in the face of limited market appeal. An enjoyable watch for those into films about quirky, down-and-out type characters. (B-)

This film is not just that typical on the road Middle America odyssey, with frequent stops in kitschy bars and dusty diners. Jackpot has a well written script with a strong focus on character development and interaction. Gries and Morris work well together as a fly-by-night duo. Gries' goofy but personable character allows his mediocre singing to be quite intriguing. The witty dialogue was enjoyable and consistent throughout the film. Most notable is Garret Morris' performance. The film was a clever attempt to show two zealous characters struggle for an unrealistic, waste of a goal. You can't help but be envious of their carefree attitude and at the same time loathe their divergence from ideal responsibilities. It's realism allows for a vicarious experience and an appreciation of great screenwriting.

Even more than the previous, awesome movie by the Polish brothers, "Jackpot" presents a quiet, even-keeled portrait of what at first seem like a ridiculous pair, but who's sincerity and refusal to give up makes you admire them. There's a kindness to the ironic view that is a relief; the characters are not exaggerated or spoofed into cartoon-condition, their audiences aren't either. The tone of the film is respectful yet ironic - a healthy mix. The cinematography is nothing less than beautiful, again as was the previous film from M & Polish, "Twin Falls Idaho". Same cinematographer, David Mullen, but this time the movie originated on 24P, high-definition video, and was converted to film. It's really very beautiful, the tones are just right, the look doesn't distract from the story at any time, but if you care for such things, it is really a visual treat. I think the movie might have gained from a little 'scissors action' towards the end it started to drag a bit, but not enough to change the fact that this is a wonderful and completely enjoyable movie in many ways.