El hijo de Mudge

`The Mudge Boy' is a tragic film about the failure of masculinity. Masculinity, at its most advanced, mature, and evolved is a protector of women, a mentor to children, a caretaker of animals, and a steward of the environment. We do not get to see this mature masculinity very often and its very rarity has led so many to believe that the only form of masculinity is its degraded form of tyranny, irresponsibility, violence, and mindless cruelty.

This film is close in genre to a prison movie or film noir. Its males, except for young Duncan, the Mudge boy himself, are all so degraded that they are fermenting in their toxic wastes and are unable to produce any positive energy even if only just to get the hell out of there. Their isolation cells are not made of steel bars, but of the wood of dense Vermont forests and the walls are not made of stone bricks, but of rolling green hills covered in pasture. Their prison is made of insularity and ignorance. The film is so relentlessly dark and uncomfortable to watch with its atmosphere of ever-existing potential and erupting violence, and with any hope of redemption wrung at the neck, that I think of this as a new genre, "rural' film noir, instead of urban, and something that should be categorized alongside a movie like `Deliverance'.

Femininity, with its life-giving fecundity, fares only slightly better in this film with at least one female having enough compassion to not only extend tenderness to someone weaker, but also attempt to protect herself from physical exploitation. But even she is ultimately helpless and alone in the face of relentlessly rampant violent and unrestrained male energy to which women are only as useful for copulation as animals are for the extraction of eggs and milk. The Mudge boy's mother, too, who in her absence seemed to leave her husband empty of all reason to live, had only herself been sucked dry of her life blood and left to die with an empty heart. The illusion of escape afforded by alcoholism was not enough to protect her with her basketful of tender eggs from the same fate of her beloved and memorialized chickens. How much better will her son fare?

So much of the Mudge boy's mother lived on in her son, but so did so much of his father, who was unable to communicate the needs of his heart and thus left his son alone with this rejection of their mutual need for tenderness. Although this film is presented as a gay film, and even won the Grand Jury Prize at the 2003 Los Angeles Gay and Lesbian Film Festival, this is much more a father and son film, and a story about how ultimately lost masculinity can be without fully developed and receptive hearts.

In this film's setting, the gentle, caring heart of the Mudge boy could be considered feminine and weak by those who confuse such qualities with the homosexual, but I think the boy's desire was only for tenderness and understanding, as was his father's desire. And in this involuted, backward setting, rather than that being enough for the men to earn what they wanted, what was required was for the Mudge boy to finally sink to a level so low as to chew off the very portion of himself that yearned for and needed such love. In the swallowing of what was precious in him, he was finally able to attract what he had wanted. But I wonder if by then, it was already too late to matter.

I got to give this film a chance. There's a story told, and it is very strong, I know. It could be seen as gay, stupid, mean. Yes, the movie is extremely mean and that makes it difficult to watch. You have this quiet, interesting kid, and then all the jerks; hanging out drinking beer, having sex. These are the type of relationships Duncan (Emile Hirsch) had never thought about until they arrived.

The movie makes a great job in narrating the two sides of the story. Duncan's mom died; the boy is living with his cold, severe father, Edgar (Richard Jenkins). Duncan remains unnoticed all the time; he spends the hours by himself. Sometimes he rides his bicycle, just to get out a little bit, or plays with his chicken. This chicken, together with many of the things (a sweater, a lamp) Duncan has, belonged to his mother: "It was her favorite", he says later when a girl asks about it. Edgar, otherwise, is hiding his pain, but why? He loved his wife but now has a boy to take care of. Maybe Edgar is scared to see Duncan suffering because of his wife's death. Maybe Edgar doesn't even want to take care about Duncan, although he seems to be doing an effort. When they both sat at the table for dinner (prepared by Duncan), the boy asks his father about his day: "It was fine", Edgar answers. Then Duncan asks about the food: "Ok", his father says. After this, Duncan starts talking to himself, asking questions about his day, just because his father hasn't asked him about it. This is the relationship they handle. Eventually, Duncan will start working for his father: "You're strong boy", Edgar says. But is he? The other side shows to us the relationship Duncan creates with the other boys, the ones I couldn't call friends, and the problems he has with them. He wants to get along, we can see. Even more when he meets Perry (Tom Guiry), and starts buying beer and going out at night with elder people. His father is being good about it because he knows that Duncan could use some friendship. But then Duncan is stealing alcohol from his father for them. They all go to a party, and some people start to bother Duncan: "Chicken boy, chicken boy". Perry gets angry and punches them. Duncan can't believe it. He likes Perry, they are probably friends, but does he like Perry in another way? Is Duncan gay? Is this a question we should ask to ourselves? Probably, because Duncan and Perry experience things together. You could know Perry wanted to do it, to try something different, or to teach some sex lessons to Duncan; the boy with no experience (touching his own nipples in his bed). All of these could be.

Emile Hirsch is a very good actor. I have seen him in all of his movies, except for "Imaginary Heroes". He trapped me in "The Emperor's Club" and in "The girl Next Door". Great acting jobs, in not great movies. Here he is just great (again), with all of his weird faces. He is weird; also calm and gentle. Many things. Richard Jenkins is superb, in showing what I named "silent emotion". Very interesting how a man can feel very much, but say very little. Tom Guiry is the one that steals the show in the end. He is brave and risky, as no other young actor. He says his lines so strongly that they get to you, just as in "Mystic River".

And of course, we can't forget the creator of the whole project; because this is an indie gem. Michael Burke wrote a beautiful and real script. He directed his actors so naturally that everything seemed perfect. His editor also did a hell of a job putting all those still shots together. Very good film-making (I love still shots).

When the film ends, we could feel like there is something missing, something unsolved. But anyway: is there anything else to solve?

This film has given me the inspiration to find a writer and help me to find a way to tell a story that is so similar,that story being my life. I felt every emotion, I felt the pain and the heartache of doing anything to fit in. But my life went further starting at a very young age. I too did things with males relatives, had things done to me by neighbor boys, friends of the family, and strangers; just to be told this didn't happen, and if anyone finds out you will pay. There is so much to tell, and I am today so glad that for the first time I can look on the screen and see that there are others that have felt the loneliness, the rejection, the confusion, and the guilt, that a young boy had to endure just to fit in. Duncan isn't the only so called "freak" or "weirdo". Just to feel Duncan again I will see "MUDGE BOY" again tomorrow.

Thank you to Mr Burke for finally being so bold, all my life I sat in dark cinemas looking for that one film that would let me know I wasn't alone, these things happened to others too. Thank you again for this great piece of cinema.

This is a remake of the short film Fishbelly White by Michael Burke (1998). The plot line and characters are all the same, but the story is fleshed out in The Mudge Boy.

In Fishbelly White, Duncan's character is more homo-erotic; the under-the-track-scene is more deliberate and graphic and explains much of what is left out of The Mudge Boy. In Fishbelly White, Duncan bites the head off his favorite chicken during the pick-up scene with the drunken youths and the rape scene never occurs.

The two films make for an interesting comparison of the two director's visions.

The Mudge Boy is about teenage sexuality in a rural setting. It reeks of Inde: the opening shots of somebody chased off a road even seem clipped from The Station Agent. However, its mix of B horror movie baddies and sensitive mama's boy, if never resolved, still is different from either set of formulas. A fine performance by Emile Hirsh as the `boy,' Duncan Mudge, is sufficient reason to watch this movie and make it stick in the mind. It's a neat trick Hirsh carries off to make his character come across as weird, but also nice, nice looking, and sociable. The young actor has a quality River Phoenix also notably had of being able to seem two places at once and uncomfortable (but smooth) at both – ingratiating, yet disgusted; or humiliated, yet pleased. It's quite a complex and able performance and one hopes it heralds more good things to come from Hirsh, who also starred in The Dangerous Lives of Altar Boys.

Duncan, who's about sixteen, misses his recently deceased mom, to whom he was unusually close. He shows their closeness now by liking to wear her clothes on the sly at home. Duncan tends the chickens while his father does the heavier farm work alone. The boy goes everywhere with his mom's favorite white chicken, which he calms by putting its head in his mouth (now that's what I call acting!). Is he gay or is he just an unusual boy? He hasn't developed quite enough for there to be a definitive anwer to that question by the end of this pleasingly quirky film. The Mudge Boy isn't about that well-worked theme, coming of age, but about trying to remain oneself. It's certain that Duncan isn't your standard husky farm boy.

The bunch of young heavy metal guys (with gals) in their pickup truck, who approach periodically with B-movie menace, aren't all so macho themselves. One is pretty and longhaired. Another one, Perry (Tom Guiry), Duncan is kind of sweet on and Perry, who talks so dirty and goes after the girls, still by silent consent is Duncan's best buddy. The experienced child actor Guiry (who was Brendan Harris in Mystic River) strikes a neat balance between macho strutting (which involves some extremely blunt, graphic sexual language even by current standards) and an insecurity that makes sense when we learn his dad is abusive. Duncan's own dad is shut down but also needy in the absence of his wife and affectionate enough toward his son to disapprove but marginally tolerate his peculiarities.

Though The Mudge Boy may wind up being classified as some kind of gay coming of age movie, this isn't an environment in which a "coming out" process is possible or even desirable. First of all Duncan may be odd but never seems innocent. Nothing about Perry surprises him and he seems to have no awakening to come to or audience to share it with. If he's gay, which isn't quite a sure thing yet, who is he going to dramatically come out to? Perry knows Duncan's proclivities and exploits them in a brutal `loss of virginity' sequence, but maybe Duncan is just special. It's the movie's ambiguity that makes it unique -- though some scenes, such as Duncan's off-key solo at church, are too clumsy and indeterminate to make sense.

The trouble is that the movie never seems to know too well where it's going and its pacing drowns in rural torpor. The stakes aren't defined: it's never clear if it's Duncan himself who's in danger or just his pet chicken, and the writing doesn't provide enough of a progression toward anything other than the consensual rape scene and a final moment of tenderness between father and son. When Duncan tells Perry in front of the other truck crew `I'm not a faggot!,' is that just because the word is derogatory or is he really not gay and aware of that? Nothing has been resolved, but we've been taken to an interesting, uncommon place.