Idaho: El camino de mis sueños

My Own Private Idaho is flimsy, unconvincing and wildly overrated. Although it is a film worth watching, for River's performance if nothing else, its accredited greatness is no more than a wishfully constructed social myth.

I wish I could say how truly remarkable the film is, but to be honest it lacks substance, it leaves you yearning for something more…I think much of the talent in the film is unexploited to its best potential and the dialogue, in its second half, written in a kind of impromptu, mock Shakespeare, is devoid of any magic.

Overall the film is watch-able and has some great shots, like that at the beginning where the viewer joins Mike (River Phoenix) toward the end of a blow-job he's receiving from a john; when he comes the image of an entire house being dropped onto a desolate highway charges the screen.It's sad and beautiful, and, is a perfect statement on Mike's yearning for a home he never had.

This movie isn't about being, or even about being a hustler. "My Own Private Idaho" is about finding a home. In his finest performance, River Phoenix plays Mike, a narcoleptic street hustler with false memories of a terrific childhood. Mike wants to find his mother and family, but how or why he left them is never discussed. This is a movie that shows life at the lowest rung, and is very similar to Kerouac's "On the Road" and especially John Rechy's "City of Night." (In fact the line about becoming a fairy is straight from "City of Night"). Mike and Scott (Keanu Reeves) are both male prostitutes in Oregon. Why either of them have drifted into this profession is anyone's guess. Scott is clearly not gay, but Mike might be and their relationship is what holds the movie together. The film works on many levels, but does have its flaws. It's faux-Shakespearen scenes make the film drag in the middle. Van Sant directed the movie like a dream, which is what Mike's life basically is.

This is a haunting and very sad tale about friendship and finding a home. The performances, especially Phoenix and Udo Kier and Van Sant's dream-like direction are what you remember. "My Own Private Idaho" may be a flawed film, but in my opinion, it is one of the very best of the '90's.

Gus Van Sant has always been an interesting filmmaker. He cares about character and story and through the process, his artistic integrity is able to shine through his work and that is why he's considered a prominent director in independent cinema. My Own Private Idaho is more of is more well known independent features and is often viewed as a triumph of independent cinema from the 1990s.

The film follows Mark Waters (River Phoenix) an aimless, misguided young man who hustles on the streets and is yearning to find his way in life. His best friend is Scott Favor (Keanu Reeves), who is also a young man and and a hustler, but who instead is running away from his life in the hope of finding something better. Scott comes from a lot of wealth but chooses not to live that lifestyle because when he's this young and wild, he just doesn't believe that its right for him.

However the film is centered around Mark, who is played with such brutal honestly by the late River Phoenix. River is completely dedicated to the character and brings a wonderful vulnerability to a lost soul and it makes him relatable. We watch him go from scene to scene, leaving us as unaware of his future as he is. We watch him make many mistakes and we want him to better himself but such a task is not easy. Because that's the way life is.

Mark hustles because its just who he is. We don't know how he got here, but we know that he has fallen into this lifestyle and it has consumed him. He needs the money. All of his friends are hustlers, too. He has dreams but its tough to say if he ever truly wants to leave the lifestyle. It seems that getting clients and often falling asleep during it (due to him being narcoleptic) doesn't seem to take as much of a toll on him as does his thoughts about his mother, or his feelings for his best friend.

Gus Van Sant crafts a very fine film here that focuses on such a lifestyle that we're not exposed to in our every day lives and turns it into something we can all relate to. It all comes back to that road, the road that we're all on. Does it really end? Probably not. Much like in the way that Mark is shown standing on that road, staring out into the nothingness. Its really about our lives. We live and we're happy, and we're sad, and we're lonely, and we're lost, and we've found ourselves, all of these things happen on the very same road that never ends.

I watched this film on TV 5 years ago, when I was only eleven years old, and I remember that I was especially impressed by River Phoenix's magnificent performance. I had already watched "Stand By Me" (one of my favorites), and it was very interesting to watch him older in such a daring film. I think he was the best actor of his generation but, unfortunately, he died too young. His film legacy and his magnificent aura, however, live on forever.

"My Own Private Idaho" is a poetic and bittersweet road movie, and Van Sant's masterpiece. Here in Brazil it received a bad title, "Garotos de Programa" (literally, "Rent Boys"). Yes, the main characters are rent boys, but this is not what defines them. "My Own Private Idaho" (what a beautiful title!) mostly deals with loneliness, virile sexuality and friendship, and paternity. It's much more than "a film about rent boys". Besides, by watching it my contemporaries will realize that Keanu Reeves isn't Neo from "The Matrix", but a versatile actor; and, perhaps, they'd discover that friendship - and romantic love - between two men can be truly sincere. 10/10.

I watched this film because I enjoyed Drugstore Cowboy and To Die For. As this film was also made by Van Sant before he fell off and made Good Will Hunting and psycho- I was looking forward to an off-kilter ride through rent-boy land. What I got was in fact one of my favourite films, and certainly one of the most under-rated American independent films in recent history.

My Own Private Idaho has a kind of grimy transcendentalism that almost touches wong-kar-wai territory. The camera swaggers and frames with a touch that the cameraman must have been born with- the exposure always beautiful. Top marks to the DOP. Another revelation is the dialogue- sometimes playing on the Shakespearian themes that riddle the plot- itself sometimes works its way into a psuedo Shakespearian grandeur (look at the scenes with Bob in them). Another touch is the acting- fantastic performances from all concerned especially as it has been noted before River P. But lets not forget Reeves here- he also plays a fantastic part.

But please, regardless of what I have just said- please do not expect much (as I did not) and then you may emerge from the viewing amazed and glad that you had dedicated your time to this gifted film-maker (like I did).