Storytelling: Historias de ironía y perversión

Probably Director Todd Solondz' most mature work to date, Storytelling is split into two parts `Fiction' and `Non-Fiction' - yet similar themes underlie both and pose questions about what we call reality when it comes to prejudice and taboo subjects. Whilst in previous attempts (such as `Happiness') Solondz' work has merely been controversial, in this film he berates political correctness more accurately and more entertainingly. It exposes ridiculous attitudes in the name of political correctness, whether it is the student with an awful essay who almost escapes criticism because he has cerebral palsy, or a black teacher who gets away with being a pervert because his victim doesn't want to entertain thoughts of racism. Nothing is sacred: Jews and the Holocaust also come in for merciless examination. But part of the film involves the story of a `documentary' being made within the main story, by an exploitative screwed up filmmaker who wants to do his own thing in the name of art, so in this sense, Storytelling even turns on itself and questions the validity of using the subject matter that it does. A controversial, worthy, and very entertaining film that stretches your ability to make moral judgements within a convincingly coherent framework.

Writer/director Todd Solondz last rocked my world with Happiness, which was the sharpest, most unflinching black comedy I'd ever seen. He does it again with Storytelling, keeping his impeccable edge while exploring some intriguing new turf. No doubt wary after his previous ventures, Solondz attempts to circumvent some of the criticisms that less savvy viewers are bound to make. Sure enough, they go ahead and make them; the reviews are polarized. But the film is a masterpiece.

The film has two parts. The first part, titled Fiction, focuses on a creative writing student Vi (Selma Blair), her Cerebral Palsy-stricken boyfriend Marcus (Leo Fitzpatrick) and their professor Mr. Scott (Robert Wisdom).

The classroom setting provides an unusual venue: a story writing workshop within a story. Solondz puts one of the characters through a perversely traumatic experience, which we witness as viewers of the movie. Before we have a chance to pass judgment on Solondz, his character writes about the event in the 3rd person and reads the story in class. All accusations one might level against Solondz (namely: bad taste, plus every "ism" in the book) get made by the fellow students, who detest the story. But in the context of the movie, they're condemning an account of an event that actually happened! Very clever...

In spite of some of the grotesque twists, I found myself laughing out loud fairly often. Solondz has a gift for rendering subtle ironies that become overwhelmingly funny.

The lead characters are fascinating and multi-layered. Vi seems innocent, but if you pay close attention, you'll notice she's not particularly sincere. One would like to root for Marcus, but his condition doesn't excuse him for being a lousy writer and a self-absorbed a**hole. The professor may be a monster, but he is also very frank.

The second part Nonfiction is also highly self-aware. It covers the making of a two-bit documentary. In the process, the dialog once again anticipates many of the charges some will make against Solondz (that he exploits his subjects and creates a sensational freak show for us to snicker at). There's a cameo role with Mike Schank, who was featured in real life in American Movie. The similarities between the documentary American Movie, the fiction Storytelling and the documentary within a fiction (tentatively titled American Scooby) are uncanny.

Scooby (Mark Weber) is the ultimate apathetic suburban slacker teen. While very much spoiled and sheltered, he is also alienated from, and resentful of, his elders. He perks up a bit when there are no grownups around, but most of the time the "stupid" barrier is up and his eyes are half-closed and red from smoking pot. He's such a lost cause, he attracts the attention of an aspiring documentarian (Paul Giamatti).

As you might expect, the rest of Scooby's family is a real piece of work. Scooby's dad (John Goodman) is loud and domineering. His mom (Julie Hagerty) is idiotic. His younger brother Brady (Noah Fleiss) is a jock, perhaps the closest to what we'd like to consider "normal".

The brainy youngest brother, Mikey (Jonathan Osser) is a real standout. He tags around with the overworked El Salvadorian housemaid Consuelo (Lupe Ontiveros) and asks her lots of questions. His curiosity is cute, but his conceited insensitivity truly boggles the mind.

Solondz definitely favors the sordid, but I'm not sure he does so gratuitously. I think he simply refuses to pretend, as so many other do, that the world is a tidy, simple place. (Those who seek to preserve such a notion are guaranteed to abhor his work.) But is it fair to berate Solondz just because he dares to present what others systematically avoid? Whose vision is more skewed: Solondz for pointing out the dog***t on our shoes, or the mainstream for ignoring it?

I wish I could agree that his writings are contrived and distorted, but I don't think they are. Through the media, through the grapevine and sometimes with my own eyes, I've seen events that are every bit as twisted and "wrong" as those Solondz creates. Everywhere I look, I encounter people who could easily be incorporated into a Solondz script.

Every storyteller recreates the world according to his/her own vision. Todd Solondz just happens to be vastly more perceptive and talented than most. Storytelling is one of the most insightful, clever and thought-provoking films I've ever seen. Watch it multiple times for maximum yield.

At first viewing I though this was the weakest of director Todd Solondz films, however like all of his works, it's impossible to forget once seen. Todd Solondze absorbed criticisms about exploitation, showing misery for misery's sake, and just generally being a "meanie", and turned them into the cinematic equivalent of a "dis song"(rap term for song made specifically as an attack or "beef" with another rapper), with Solondz against critics, carefully trying to explain the notions of "Storytelling". Our first story deals with sex, political correctness, race, and fiction writing, as a young liberal college girl has unpleasant and ironic sexual experience with her Black writing professor. Our second well...with the same subjects just this time with non-fiction in place of fiction. Here Solondz shows us yet another dysfunctional upper middle class Jewish family in chaos, but this time as a "documentary", which shows us the pathetic film maker, the cruel or otherwise ignorant family, and the audience who laughs and scoffs, at it all.

This is a rare film, because it's a film maker addressing his critiques, himself, and his audience all at once. And it has plenty of Solondz trade mark cringe scenes, that veer drastically from comic to dramatic in a matter of breaths. The results are absorbing but like all Solondz it leaves a bad taste in your mouth, and makes you honestly question your own moral compass. They say satire is dead if the audience cannot be shocked, but it's also dead if the audience cannot be shamed, in the days where South Park and Family Guy, are on non cable TV any afternoon (l love both shows), shock and shame are concepts so familiar they've lost some of their power. Thankfully just when we've seen it all and were sure that nothing matters and nothing can surprise, startle, or offend us, Todd Solondz will be there to show things can always get worse.

After reading about Palindromes and finding myself oddly attracted to the subject matter of several of Todd Solondz's features, I bought this film. It would seem that it has a reputation as being his worst work to date(at least as far as theatrically released movies go)... I must say, if the rest of what he's done is this powerful, I will have to keep my eyes open for it. You seldom see movies that are this unpleasant. There are films that are far, far harder to watch... but this is still not one you put on to enjoy yourself. As many other viewers, I didn't care much for the first half(well, part... it's a third of the projects full length, with a running time of about 25 minutes), "Fiction". I felt I had gained little after it was over, though I will say that the concept and themes explored are quite interesting. "Non-Fiction" proved to be far more worth-while, in my opinion. The writing and direction is excellent in both. The pacing works well... I was never bored, and while it wasn't exactly a "good" time, it moved along as it should, never really too slow or too fast. The characters were incredible... the sheer amount of development, through so little time spent on each... that's talent. As its title indicates, Storytelling goes into different methods of telling a story... and displays some of the most impressive storytelling that I've seen to date. There is some humor, but it's quite black, and throughout the film, I was unsure of whether I should laugh out loud... or cry my eyes out. The film is strongly satirical, very direct and seemingly almost aggressively anti-PC. Dealing with several subjects of taboo, Solondz pulls few punches, if any. Certainly not a film for everyone. Both parts seem to end somewhat abruptly, but that may be intentional. I will say that my rating would almost certainly have been higher had the first part been improved upon... or removed entirely. It's difficult to say who I'd recommend this to... cynics or realists with a strong threshold for the some of the ugliest sides of human nature, I suppose. From what I understand, though, it's less provocative than the other films of Todd Solondz. 8/10

Just another movie that strives for well, nothing. It seems like the will to actually tell something was replaced by the will to get another award. For me this is just another Robert Altman wannabe at work. But he just can't get the story straight. Deconstructivism sometimes seems, as well as irony, to be used when you are to insecure to tell the whole story. It takes courage to make a straight story (like Lynch), based on really good storytelling. By making the movie a bit arty and confusing you're not putting your ass on the line. You only put the responsibility in the hands of the audience. Sometimes it works, sometimes it don't. This time didn't work, for me at least.

Furthermore I didn't really see how the two parts interacted in a interesting way. But maybe I've forgotten my Derrida...