Choking Man

I was going thru the cable guide one Saturday night, and I added a bunch of indie films from Sundance and IFC to my DVR record list. I recorded a few movies, and tonight I watched the first- Choking Man. It's the story of an Ecuadorian dishwasher working at a small diner in Queens who suffers from severe social anxiety and falls in love with a new Chinese waitress.

The film is well made, the director knew what he was doing and the DP did a very nice job of making it all look fantastic. The action was broken up by scenes of animation dominated by bunny rabbits and other odd stuff. Those animated sequences were dream-like, and it all blended together nicely.

The music was really fantastic- a lot of bells, toy piano sounding stuff, slow yet flowing music that added a nice depth to the action on screen. The music was a character in itself in some places, used aptly to convey a whole slew of emotions that a lot of the character themselves never portrayed all that strongly.

The movie overall- not all that great. The main character, Jorge who supposedly suffers from morbid shyness…well, he came off as retarded. You would meet someone like this and wonder if there was something wrong with them mentally. Shyness is one thing, but refusing to even look at people or say anything to them when they ask you a question- I've never encountered anyone like that, and if I did I'd probably just assume they suffer from mental retardation and leave it at that.

The problem with this movie is that Jorge isn't just unlikeable. He's worse. He's annoying. He's SO weird you don't really care what happens to him. I'm sure people like him exist in this world, but they're so far out on the periphery that in a film like this- he almost seems completely fake. The guy just comes off so badly to me that I didn't even want to see him. I would have rather watched scenes from any other character in this movie, as long as Jorge never showed his face.

That is a major problem for me, and one that cannot be overcome. It's the film's downfall. That and it was weird. There are a number of very odd things that happen in the movie and don't make a lot of sense. Someone will try to say it's deep and thoughtful, and that I just didn't get it. If so- I say 'oh well.' I certainly won't cry over that.

A simple story of an Ecuadorian young man earning a living as a dishwasher at a diner in Queens, New York. Above the dishwashing station, a standard poster on how to deal with a choking person. The young man sees that everyday and it becomes clear that this will have a part to play somewhere.

Among other characters, an American cook and an oriental waitress complete a sort of potential love triangle. Much of the film is spent around the trio and life at the diner. Near the end, if feels a tad too long, but be patient. What's cute about the plot is that the ending is amusingly anti-climatic. You'll have to see for yourself.

A true American indie. Done with a US$400K budget.

Jorge (Octavio Gómez Berríos) is a horribly shy Ecuadorian dishwasher, working at Olympic Diner, your average, scuzzy diner in Jamaica, New York. The owner of the diner, Rick (Mady Patinkin), informs us early in the film that more languages are spoken per square foot in Jamaica, New York than in any other place in the world. Jamaica represents the salad-bowl theory of sociological study, where numerous cultures will come together but also kind of segregate themselves to their own little area to function rather than to merge together (the melting-pot theory in contrast).

Jorge is one of those quiet guys that still somehow manages to attract the attention of loud guys, specifically Jerry (Aaron Paul), an obnoxious white guy who consistently finds ways to immaturely tease Jorge while he is simply trying to wash his current dishes and move on to the next set. Jorge eventually connects (not talks to) with his coworker Amy (Eugenia Yuan), an attractive Chinese waitress, who finds her talkative personality in grave contrast from his silent and restrained one. For the next eighty-three minutes, we become the fly on the wall, intimately watching these characters interact with each other and form relationships inside this sleazy diner.

Steve Barron's Choking Man gets its title from (a) its climax and (b) the fact that Jorge always washes dishes in front of the Heimlich Maneuver instructional poster that establishments are required to post. The commonality between both Jorge and the instructional poster is that they're both metaphors for something, be it immigration, loneliness, or something even deeper, and it's something I can't figure out. The ambiguity in Choking Man seems to exist to provide another layer to an already simple story that didn't need to be infused with symbology nor added mystique especially at the distracting level to which writer/director Barron employs the elements.

For example, Jorge may represent the commonplace mindset of an immigrant which is to take a day at a time, do your work to the best of your abilities, avoid conflict, and move on, while Amy could be representative of an immigrant getting involved in the American culture, surrounding herself with people of the land. One of two perspectives are likely embraced by immigrants and Choking Man shows this effectively. However, the film doesn't give these immigrants defining characteristics. We end up defining them by their social status and their jobs rather than on their personalities.

Barron's choice to leave these characters largely empty and unexplored, especially his lead, which the film rests on, leaves the film rather unsteady Jorge, in particular feels more like a metaphorical representation of something larger than his character could ever be, which only seems to throw another wrench in the film's plan.

Choking Man is a stranger project for director Barron - a down-tempo, mood-piece by a director who specialized in directing off-the-wall music videos for bands like a-Ha in the eighties and the nineties. Here, he slows down his directorial speed like he went from hauling freight in city streets to cruising on lonely country roads. This is an assured change, as well, for we can how Barron makes a film with a hugely relevant topic and fuels the project with symbology and quiet melodrama. The result is a mildly engaging, however, unfocused drama, which wastes its ability to say something with its constant surrealist animations that pop up, hoping to allow the viewers to connect with Jorge more than they already have. Much like Jorge's surface personality, though, his mental personality isn't much more engaging and further alienates.

Starring: Octavio Gómez Berríos, Eugenia Yuan, Aaron Paul, and Mady Patinkin. Directed by: Steve Barron.

I really think this film is some kid of masterwork. Really I do. The Festival described the film in its catalog much better than I can: "If you think you know Steve Barron from his music videos ("Billie Jean," "Money for Nothing," "Take on Me"), think again. The director best known for his seminal work on MTV in the early 1980's (not to mention the glitzy 1984 feature Electric Dreams) brings an entirely new aesthetic to bear on Choking Man, an intense blend of psychological drama and magical realism that speaks eloquently of the contemporary immigrant experience in America. Jorgé (Octavio Gómez Berríos) is a morbidly shy Ecuadorian dishwasher toiling away in a shabby Jamaica, Queens diner run by Rick (a Greek-accented Mandy Patinkin). Tormented on the job by his coworker Jerry (Aaron Paul) and controlled at home by his older, domineering male "roommate," Jorgé gropes mutely for a bond with Amy, a newly hired Korean waitress (Mail Order Wife's Eugenia Yuan). She tries to reciprocate, but the gulf that separates them may be too large. Interstitial fantasy sequences featuring an animated rabbit gives us the impressions of life from Jorgé's point of view, while a poster instructing diner patrons on how to perform the Heimlich Maneuver looms over and ultimately catalyzes the action. Shot over 18 days in Harlem and at Queens' Olympia Diner, Choking Man effectively portrays the polyglot milieu of the area around John F. Kennedy Airport, capturing the feeling of claustrophobia and almost literal asphyxiation newcomers to America experience as they struggle to find a place and a purpose in this strange land.

• Elliot Larkfield"

I would say this is a must see film.

I appreciated this film a lot. The focus of the story is a quiet, shy person named Jorge who has a connection with a new waitress at the diner where he works as a dishwasher. Every night, he goes home to a small sad apartment where a man "lives". Note: in my opinion, this man is a hallucination, and Jorge likely has some serious PTSD or other debilitating psychological problem.

His problem is an allegory for the choking man.

At one "explosive" point in the movie, he does something that frees him, and he banishes his demons. However, working up to that point, he appears painfully shy, possibly homicidal at times (because he cannot express what he wants to say/do) and at the very least very angry or desperate. But how he reacts is to quietly observe, dash away, hide, and wait to be found.

I loved the story unfolding, I loved the odd daydream-like animations (note, many of the animations flow into "demon" shapes, and his hallucinatory "roommate" has some perverse sexual imagery that Jorge tries hard to block out, but the animations are otherwise about bunnies and sweet things.) Score is great, as has been mentioned.

I thought this actor was extraordinarily good with a part that has very little speaking. This is a guy who can act with this eyes. Supporting cast is appropriate, desperate, have small stories that are additive and round it out.

Good film if you like awkward, flawed characters. It's just stories about sweet, flawed folks playing out over a Thanksgiving. That's what was so great. I don't think the fact that many are "immigrants" is important in the story, they just happen to have accents, and it adds to the sweetness.