Lush

I'm not quite sure why I rented the "Lush" DVD. I suppose a big part of it was its New Orleans setting. However, except for a few location shots, including One Shell Square building, the French Quarter, and a St Charles Avenue streetcar, the bulk of the filming was done in Baton Rouge and a couple of golf courses there. It is not possible to write a narrative of "Lush." There's a washed-up pro golfer who drinks too much and lands in a Little Rock jail when he tries to bribe a cop with a $50 bill. There's a New Orleans lawyer who makes feeble attempts at suicide after telling various people that he has a life insurance policy with them as beneficiary. A couple of goofballs who work for him. Two sisters who take turns romancing the golfer after he gets back to New Orleans. The white dog that shows up in various places. In the end the golfer and the younger sister end up together, and he is managing a putt-putt establishment.

The writing and acting are good in spots, but uneven at best. Overall I found it mildly entertaining, but could not recommend it. The DVD is simple, ProLogic sound, no extras. "Lush" is quirky, it has fans, but most would be turned off by it. I see it has one "10" vote on the IMDb, a woman over 45, must be the director's mother! :-)

Mark Gibson, who is a master of using mirrors in shots, directs this gem which will probably never get a wide release. Campbell Scott, who was great in Singles and The Spanish Prisoner, really gets to shine here in a unsympathtic role. Jared Harris also has a few good moments, especially when he's drunk. You may recognize Laurel Holloman as Mark Wahlberg's girlfriend in Boogie Nights before he becomes Dirk Diggler. See it if not for some witty lines and good camerawork.

I need to respond first to the creative lambasting that precedes my comments. Not only are you dead wrong, but it is precisely this kind of facile dismissal that holds back American film. This is an experimental European independent film masked in American gloss, and it is this quality that is both the virtue and the marketing difficulty of the film. Had my fellow reviewers seen a low production value version of the same film, they would have hailed it as the second coming and fiercely emailed their friends about the literary and film references within it. They would have known right away to expect a twisted plot line, fragmented exposition of the characters, and a constantly shifting understanding of the film's sense with each subsequent scene. The film project that a film like this represents is to make work that is both complex and mainstream, rather than to corral the good stuff in the "experimental" corner. But this kind of film project needs an audience willing to constantly update their visual acuity. If you remember, Godard was not always the crowned king he is today. When he was making his 1960's films he was making seemingly casual films out of a very serious understanding of the potential of film and received similarly frustrated responses. The difference, of course, between a filmmaker working in France in the 1960's and one working in America today is that you need much much much more money to get your projects done, so it might take a little longer for the film project to happen, but it will.

Everybody likes a good mystery and a good movie, and together the two make a potent combination; unfortunately, you get neither with `Lush,' written and directed by Mark Gibson, a film that leads you down the path apparently for no other reason than to lead you down the path, and that's considering it from the most positive and objective point of view one could possibly muster. Rarely does a movie leave the viewer with such a pronounced sense of indifference as this one, or with the feeling that the entire experience was, at best, pointless.

When Lionel Exley (Campbell Scott), a promising professional golfer, chooses the comforts of the bottle over his career, he is ousted from the circuit. He goes back home to New Orleans to sort out his life, which he does by looking through the bottom of a whiskey glass. Then he meets Firmin Carter (Jared Harris), a hopeless alcoholic with one up on Lionel, however, inasmuch as he is wealthy, which means that when he hits the floor, at least it's the best that money can buy.

Lionel quickly becomes something of a confidant to Firmin, which leads to a proposal Firmin makes to his new found friend, which could be a lucrative proposition if they can pull it off. Lionel demurs, however, as in the sober light of day it all just seems too ludicrous. But after another night of drinking, it appears that Lionel just may have pulled it off after all. The problem is, he doesn't remember a thing-- and suddenly the police are in his $9.00-per-night flop house room asking questions...

A story told in cryptic terms can be a challenge to an audience, and unraveling a mystery can be an engrossing and ultimately satisfying experience. But only when there's something actually worth unraveling. In this case, it would be more accurate to say that it's the film itself that unravels, except that it is never together enough in the first place to do so. Gibson's presentation is seemingly so convoluted it's as if he did it intentionally, not to effect good drama or mystery, but in hopes of concealing the fact that the story-- such as it is-- is just so obtuse. And the real pity of it is, he wastes the talents of some actors who deserve better. Much better.

As far as performances go, Campbell Scott is solid as always, but his efforts here, while commendable, are ultimately an exercise in futility. Even an Oscar worthy performance couldn't salvage this one. And that is not to say that this is an award winning performance; it isn't-- but it is credible, and Scott does about as well as anyone could with the material he's given to work with. The good news is, there are greener pastures ahead for Scott (as well as all of his costars here), because after this, there is definitely no way to go but up.

Happily, Laura Linney-- proving the old adage that what doesn't kill you makes you stronger-- earned an Oscar nomination for her work in her next project, giving an extraordinary performance in an extraordinary film, `You Can Count On Me,' which was also one of the best films of that year. In this one, Linney-- like Scott-- brings more to her role of Rachel Van Dyke, the affluent southern belle who becomes involved with Lionel, than anyone would have the right to expect, including her director. Considering how poorly written this screenplay is, she deserves a lot of credit for even being able to `find' her character, let alone make her convincing-- which she does. But again, the best performance in the world couldn't save this one.

Also turning in a decent-- albeit wasted-- performance, is Jared Harris as the self-destructive Firmin Carter, a character nearly as pitiful as the film itself. Taken out of context, in fact, Harris actually does some commendable work here. And again, it's a case of the actor doing everything humanly possible with what he was given, which certainly wasn't much.

The supporting cast includes Laurel Holloman (Ash), Nick Offerman (Gerry), James `Kimo' Wills (Pats), James R. Hall Jr. (Buddha), Don Hood (Har) and Sherry Francis (Mrs. Van Dyke). A lamentable attempt at filmmaking, the best thing that can be said about `Lush' is that it makes you appreciate a `good' movie. In defense of Gibson, it should be pointed out that this was his first attempt as a writer/director, which is no easy undertaking even for a seasoned professional. When you see a great-- or even a good movie-- it always looks like it was brought to the screen so effortlessly; and that's what makes a great filmmaker great-- that ability to make it all look so natural, and `easy' to do. It's like the old `I-could-have-written-that' out-of-hand dismissal of a best selling novel; it just looks so easy. Rest assured, it is not; and hopefully Gibson will learn from this experience, pick himself up and move on to bigger, better and more worthwhile projects in the future. I rate this one 2/10.

I loved this movie -- not your typical indie. Don't be fooled by the DVD artwork this is not a thriller! it's weird and funny with a romantic feel.

This is the real New Orleans; offbeat characters and way too much booze. JAred Haris is particularly good as the suicidal lawyer. Laurel Holloman and LAura Linney are fun as sisters on the prowl.

If you like your movies to take unexpected turns this is for you.

Also, how can you go wrong with Plastic Bertrand in the opening credits.

French punk rules!