Mala Noche

I was fortunate enough to see this at the Sydney Film festival. I am a fan of Van Sants, having seen all his stuff and read his fiction- and I've always wondered if I would ever see this curiosity of a film. And what I expected to be nothing more than a real fledgeling of a film, with only a glimmer of the Van Sant that attracts many to his work- was in actuality a stunning, fully sustained episodic and tender Ka-pow! that was wonderfully made and full of all the visual tricks and flair that makes Van Sants movies so idiosyncratic and so ... well him. This was the biggest delight for me about it. I expected, simply because it is so hard to find and that it has no DVD release that it would be a mere trifle of a film. But it is anything but.

I was moved, all the acting was top-notch. The main character was likeably deluded, such a victim of his own desire it was funny and warming at the same time. The Black and White and evident grain in occasional sound inconsistencies actually work for it; it helps draw the detail out of the locale and its people in a manner very reminiscent of Van Sants Idaho and Drugstore Cowboy.

There are moments of confusion, of randomness, of erotica and tragedy. The music is wonderful, every camera angle delicately crafted, but never contrived or pretentious- full of humour and warmth.

What a joy this film was and to me, seriously one of Van Sants best. Maybe its because I'm a gay man and with the exclusion of his Paris Je Teme segment, and elements of My Own Private Idaho, this is his only overtly gay story. And it plays real, with an almost documentary like realism (for example the scenes of language barriers between the the main protagonist and Pepper)- but then again its almost as theatrical as opera, playing it broad and surreal.

I cant praise it highly enough. A real surprise, a delight. I hope it gets seen.

Mala Noche is kind of "a month in the life of" Walt, played by Tim Streeter, who is fawning over Johnny, (Doug Cooeyate) a Mexican who hangs around Walt's store. It's touching, sad, and frustrating to watch as Walt keeps throwing himself at Johnny, and is constantly rebuffed. Walt, who is the caregiver to just about everyone he meets, spouts life philosophy and seems to enjoy the thrill of the chase in the gritty side of town. At the same time, it's refreshing to see a film from 20 years ago treat gay characters and relationships with respect, and to give them "normal" lines without resorting to stereotypes. Oddly, Ray Monge, who plays Roberto, a friend of Johnny, is the only one has has had more than one or two roles listed in their career, and he has just four roles listed. Some neat little touches, like the bottle on a string that pulls the door closed like a spring, Walt greeting everyone on the street, and the driving lesson gone wrong. Interesting interview with van Sant on the DVD from janus/Criterion, where he explains how it was made from Curtis' story. A little offbeat and rough, but fun to watch.

No budget film about a young man heavily attracted to some Mexican teenagers in Portland OR in 1977.

The film is in black & white, the sound is (at times) incomprehensible and some of the acting is pretty bad. Also it has more than it's share of boring moments and no real ending. Still, it sticks with you.

I originally saw the film in 1990 at a film festival. I was very impressed but it wasn't available in any form. A lot of the scenes were still fresh in my mind and the acting by Tim Streeter was superb. It was until this year (2002), that I was able to see it again and that's only because the director allowed his own private print to be shown.

I still liked it a lot, but I had forgotten how bad the actors playing Mexicans were, and that there was really no ending. Still, the direction is great (very impressive considering the lack of budget) and , when it worked, it was fascinating. However it is very bleak and the subject matter may bother some people. Well worth catching...if you can.

There are few gay, or straight, films which fling such disturbed and desperate lead characters into the sparkly gutter like Mala Noche. That summary is trite at best, but to watch this movie is to fall into a film noir which won't give you any love back. Excellent and gobsmackingly short-ish cash register rings of warning. Don't embrace these sickly, nasty characters, but do get enveloped. You can't help it. Everyone sucks, everyone is dirty, nasty, and sadly dreamy. Gus made a gorgeous pile of human stink with this one, and it is completely addictive. Fabulous film. Gus Van Sant may have jumped the shark with some later stuff, but this, boy, this is good. Fans of grit say: Must see.

As the stagnant state of films in the 1980's was still in its inevitable decline the emergence of a new breed of American independent directors saw this as a moment full of opportunity. Gus Van Sant decided to turn his camera on the outcasts of a small Portland neighborhood and create an intimate portrait of 3 young men at an important turning point in their lives. Not only is Mala Noche an influential example of 1980's independent cinema it also serves as a milestone for the New Queer Cinema that would become more prevalent in the 1990's. Gus Van Sant's stark debut would serve as a blueprint for many directors to come.

Mala Noche focuses on convenience store worker Walt's and his infatuation with a young immigrant Jonny who is fresh off riding the rails from Mexico with his friend Pepper. From the film's first scene its unabashed open "gayness" lets the viewer know what they are in for. Van Sant makes no attempt to justify his films openly gay stance instead he embraces it and explores the beauty and darkness that accompany it. Walt and Johnny coexist solely based on their parasitic relationship. Walt gushes romanticized convictions for a boy he knows little about, such as "I want to drink this Mexican boy" or "I have to show him that I'm gay for him." While Johnny uses Walt for a house to crash and the occasional joy ride in his car. At the same time both are uncomfortable with their personal situation but can't help to hold on to what they have left.

John Campbell's bleak camera work adds a lot to the look of the seedy underbelly of Portland almost as if it could have been shot as a documentary. Mala Noche is one the few films that benefits from working on such a small budget. It gives the viewer a sense that Van Sant was truly in touch on a deeper level with his subjects than just an "actor/director" level. Ultimately Mala Noche is a profound representation of America's emerging "gay" cinema and an important document of Portland in the mid 1980's. Gus Van Sant would go onto make stronger films but this fascinating debut will show he has shown a strong passion for his films and his subjects right from the beginning.