Factotum

Factotum means "jack of all trades", and Matt Dillon interprets the role of a drunk trying nothing but to survive from day to day. He has no ambition, he doesn't have to compete with anyone, he makes part of no desirable demographic group and doesn't want a white picket fence.

He drinks, smokes, womanizes :), and writes all the time. His writing (much like Charles Bukowski's, the author of the book this movie is based on, dead in 1994 at 74 years old) is based on his own life and feelings and seems compulsional: he needs to write more than he needs to be read.

Now, about the movie. It is rather slow paced, close to boring. Matt Dillon plays very well his role and he has never looked and felt like Bruce Campbell in his life. When the movie ended, though, I felt I have been enriched somehow. A lot of the modern pressure of proving something, having a home, getting a job, the things that we start to think define us, all these things have no power on Matt Dillon's character. Of course, in Romania such a guy would have starved a long time ago, but still... A bit like The Big Lebowski, it shows that there are alternate lifestyles right next to us. You can make the choice to lose women, friends, family, but go all the way in the direction of your choosing. And after all, this is what Factotum is all about.

Bottom line: you need to be in the mood for a slow film, but it is worth it.

The leading figure in Factotum (which means a jack of all trades) is Henry Chinaski. The movie, written and directed by Bent Hamer, a Norwegian, is based on the novel of the same name by Charles Bukowski, who died in 1994. Like Chinaski, Bukowski was a drunk, indulged in casual sex, and liked to gamble; and most of Bukowski's books, including Factotum, are based on his own experiences in and out of blue collar worker. Also, like his creator, Chinaski is a writer, albeit unpublished as yet. Nevertheless, it is probably best NOT to approach this film as a partial biography of Bukowski, but simply as a fictional movie based on his writings.

Chinaski, played by Matt Dillon, is the ultimate, irresponsible goof-off, living just above the level of skid row, who gets work when he needs cash for booze etc, but invariably gets fired within days or weeks. Told not to smoke in a particular workplace, he lights up once the boss is out of the way; asked to make a delivery, he drives the van away while it's still connected to an electric plug, leaves the van door open and drifts into a bar. Even outside work, he behaves perversely - notably leaving ointment on his private parts overnight, when he's been told that one hour is the absolute limit! And Chinaski, though initially appearing mildly passive, is not averse to violence, even to women.

The man's sole redeeming features are his belief in himself as a writer, and his persistence in writing and submitting his work. (His main redeeming feature should be his actual talent for writing, but the film gives us little evidence of this, except for a few Bukowski quotes, which in any case are mainly about his belief in himself.) .

Dillon fits this role like a glove. By turns, he sleepwalks, staggers and rampages through the movie - that is, when Chinaski isn't drinking in bars or sleeping it off with or without a woman. And, because this is fiction rather than biography, Dillon can mitigate his deplorable behaviour and slovenly dress simply with his good looks and dark eyes. One suspects that in real life Bukowski was far less likable than his cinematic alter ego.

Chinaski's main squeeze for most of the movie, bravely and quite unglamorously portrayed by Lili Taylor, is Jan who shares her lover's fondness for alcohol and a slacker life. In one sequence, when he has split from Jan, Chinaski encounters a glossier woman, Laura (Marisa Tomei), who introduces him to a more bourgeois world; but this doesn't last long, and he soon reverts to his usual round of drink and casual jobs. (Incidentally, I found the sound quality in the whole Marisa Tomei sequence quite poor, and missed much of the dialogue.)

I'm not too sure what anybody uninterested in Bukowski (or Matt Dillon) will make of this movie; but if you're looking for somjething in English other than blockbusters, rom-coms, costume dramas etc - this is it. And, whatever your view of the movie, if you haven't already done so, read some Bukowski - you'll love it!

Hamer is a wonderful director and is well suited to adapt a life so besoffened as Henry Chinaski's is, with its peculiar humour. That said, the full potential of Bukowski is not realized and probably would never be outside of the books. Its still close though. Some sequences, like for instance, the pickle factory is very funny in true spirit of Buk's work.

What may scare most fans away from this though, is pretty face Matt Dillon. He does not have the personality, understanding or the looks to match Chinaski. This is the main hindrance of this movie. Lili Taylor and Marisa Tomei comes better off, giving solid performances.

If you're a fan of Buk, go check it out. If you're a fan of good cinema, check it out as well. Bent Hamer is a man of vision.

First, my only gripes with the film are about authenticity. And they're just because I'm a huge fan of Charles Bukowski. I've never thought of Matt Dillon as a "great" actor. But I thought Dillon's role as Bukowski was just okay. I almost can't quite put my finger on it. He looks a decent bit Like Buk, but his actual performance seems almost too much like a mediocre impression. I don't know. It's just not very natural or convincing or something. I'm not an acting coach. He just didn't click with me as Bukow...*ahem*, Chinaski, anyway.

As a whole the film just didn't capture the feel of the Bukowski novel. It seemed too clean for some reason. The whole film just seemed a lot more tame than the literature. His writing captures this great sense of adventure, danger, and a frequent raw vulgarity. But also, it has a very artful heart to it. The movie missed this entirely, in my opinion.

But believe it or not though, I still think it's a good movie. Outside the actual interpretation of Charles Bukowski's novel, it's still fun watch, with generally good performances, and a phenomenal story to have been based on.

Factotum is a quantum movie. Or rather in its efforts to depict the chaotic life of radical writer Charles Bukoska's autobiographical alter ego Henry Chinaski, the paradoxes and inherent uncertainties of quantum theory seem an apt metaphor.

Hank, like Bukowska is a dedicated alcoholic drifting indifferently through any odd jobs he can con his way into then disdainfully neglect until he is inevitably 'canned', spend the pay-off on booze and then ricochet randomly off to repeat the process elsewhere. It is as if, like the theory, through his alcoholic haze Hank sometimes has an idea of where he's going but isn't really clear where he actually is. Alternatively he sometimes has sense of where he is, but none at all of where he's going. Like a particle with no discernible fixed identity, he bounces randomly around the world colliding with people, places and events of which he is part, but in which he makes no stable intentional intervention and to which he displays no discernible interest. This process is constantly re-fuelled by a 24/7 intake of alcohol and nicotine. If this sounds incredible then we should remember that the real Bukowska's body survived this punishing regime for 74 years until his death in 1994.

If this were all, then Norwegian Director Bent Hamer's film would not be the absorbing work that it is. For through this fog of alcohol shines the dim light of Hank's determination to write. Not in the least for its rewards or recognition, but because it forms the nucleus of his fragile identity. And through the excellent use of Hank as narrator, the stark, clinical, austere quality of Bukowski's writing emerges. This is the poetry of skid row, the unsentimental, unflinching account of life at the margins of normal society about which Hank is entirely indifferent and Bukowsa himself viewed with contempt. There is a brief, doomed, flirtation with the idea that we might have some control over our destiny through Hank's initially successful foray into betting the horses. Racing I guess offers the illusion that even if God plays with dice, with a bit of determined effort a man might beat the odds. Of course this ends in failure - the house always wins in the end.

The paradox of quantum theory is that the precise and rigorous lucidity of the language of science, expresses a view of the world of matter that is devoid of certainty and inherently rests upon mere probabilities. Similarly Hank's island of lucidity is the drive to write; to create a meaningful response to a meaningless world. His behaviour is as random and unpredictable as the chaotic, senseless events of the world that provoke it. Yet an urge to coherence emerges through his irresistible drive to write about that world. He has simple appetites: alcohol, nicotine and sex and no moral, emotional scruple gets in the way of satisfying them. He is drawn into transitory friendships and fragile sexual relationships by the basic need to drink, smoke and have sex. The only relationship he has with any semblance of continuity and personal satisfaction is with fellow alcoholic Jan.They share these basics needs and arrive at a kind a stable modus vivendi where they are fully met without having to wander about the world hoping to pick them up in a run down bar. Jan's predilection for leaping into bed with every random bum she takes a fancy to, the dirtier the better, eventually fractures this sex-of-convenience arrangement. Here Hank packs his bag and leaves with the air of a guy popping out for a night's bowling rather than walking away from the only half-way stable relationship he's ever had. This fictional account mirrors Bukowska's own 10 year relationship with Janet Cooney-Baker also a long-term alcoholic who eventually lost her fight with the booze in 1962.

Hank lives in a down-beat, dead-beat world where his holy trinity of physical appetites are the only distraction from that world to which he is always, by choice, an outsider. The film is visually and aurally dark in tone. Yet through this, Hamer's screenplay, leaning I suspect heavily on Bukowska's own writing, cuts clinically and strikingly like a surgeon's knife making an incision to open up to the unflinching eye, the diseased or damaged part of life that may need surgical repair or excision. This is writing honed to a razor-sharp edge that is simply startling and despite inducing a sense of recoil, exercises a strange fascination. If I have a regret, it is that more might have been made of the occasional moments of darkly ironic humour flashing like flinty sparks out of the sheer absurdity of the many irredeemably hopeless situations Hank stumbles into. I don't now Bukowska's work but occasionally in this film Hank's blurred perspective seems to be a weary "so what?" in response to the world: at others there is a flash of rebellion that engages us much more.If there is much of Hank Chinaski to like we find it here.

Matt Dillon is a revelation and has never for my money done anything remotely in this league before. Lili Taylor is equally convincing as bed and bottle-mate Jan and even manages to tease a kind of pathetic tenderness out of the role. Marisa Tomei is effective as one of Hank's random, ricochet lays who is locked into a very weird foursome with two female friends and an older man who manipulates sex from all three by funding their booze and basic needs.

Factotum is no nice night out at the movies. Its darkness is as heavy as it context would imply. Yet it is constantly absorbing and thought-provoking. It is immensely successful in portraying the world and experience of an autobiographical character based upon a writer both Jean Genet and Jean-Paul Sartre called "America's greatest poet" This 'factotum', jack-of-all-trades, late in his writing life, by all accounts became master of one. Off-the-wall, in-the-gutter but cinematically on-the-money.

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