Beat

More motivated by the recreation of the beat generation than by the film acting and production, I was gladly surprised by the respectful treatment of Mexico in this movie: the staging without trials of a country plagued by centuries of poverty, in the 50s, has in addition a careful photography and stunning natural scenarios in which the plot remains unalterable, professional and carefully conducted.

The outstanding performance of Courtney Love, personifying Joan Burroughs, is enhanced by her proverbial beauty in a performance that well deserves to be considered an icon in contemporary cinema. Courtney's big close ups emphasizing "I dare you" can take your breath away. Norman Reedus, in the role of Lucien Carr, gives a slight hint enacting his duties at UPI and clarifies his role in the beat movement. In the film cast Ron Livingston as Allen Ginsberg gives the picture of the introspective young adult he was. Kiefer Sutherland, as William Burroughs, has better lines than acting… yet, his presence is a must.

Finding Mexican actor Luis Felipe Tovar was a surprise. With his eloquent Mexican touch, he embodies a federal policeman in a Michoacan state country road. Memorable. His click on the words in Spanish is his natural; Tovar is definitely a character in alternative Mexican cinema.

The abuse of amphetamine "Benzedrine" and homosexuality are seen on screen without judgments and are merely descriptive elements of the narrative construction, as befits the vision of Gary Walkow, Beat's director.

Highly recommended.

This is a film drenched in a palpable sadness: the sadness of being gay in the 1950s; the sadness of being a woman in the 1950s; the sadness of being anything out of the ordinary in the 1950s. But I've been rereading a lot of Kerouac lately, and I don't think it would be a stretch to say that the whole Beat Movement was propelled by sadness.

This is also an intriguing film, though I wouldn't call it a great one. Anyone interested in the Beats should see it. But if you don't know the back story of these characters, I can imagine that much of what they do doesn't make a lot of sense.

I thought Courtney Love gave a remarkable performance, surprisingly nuanced, aided by her off center beauty. In Kiefer Sutherland's defense, I'm not sure even Bill Burroughs could play Bill Burroughs. And I wish Kyle Secor and Ron Livingston could have traded roles. I thought Secor captured Allen Ginsberg's manic charisma better, to the extent that when he was on screen, I felt like he and not Livingston, was actually Ginsberg.

The bulk of the film takes place in Mexico City with side-trips to more remote areas. The scenery outside the City is lush and lovely. The interactions among the actors reflect these locales. I found the film extremely watchable, and was fascinated with the performances. All the lead roles are clearly developed. I loved Courtney Love. She is as beautiful as a modern day Anna Magnani and never has a bad scene. Seeing Kiefer Sutherland in something so unlike his "24" role is a delight. Ron Livingston's performance is controlled and finely honed. Norman Reedus presents raw energy. The cinematography is excellent with wondrous scenes of light and color. One can almost smell the tropical foliage. This is decidedly Courtney Love's movie, since she plays Burroughs' tragic wife. The interactions of these characters, based on real-life people during that time period, is a mesmerizing glimpse into lives in emotional turmoil.

The last dregs of the so-called "Beat Generation"--writers in the early-1950s who used drugs and acted out their social and sexual desires--as gay writer William S. Burroughs has fled to Mexico with his wife Joan, only to see that marriage come to a shattering climax. Stylishly-presented, yet with practically no drive in the narrative (it's tough caring about these bored, reckless people when the direction is so dreamily disconnected). One character, Allen Ginsberg, literally ends up stranded on the roadside (for all we know, he's still there!). Performances are decent, if not dead-on: Kiefer Sutherland adopts a fey-yet-cynical manner that isn't really convincing, and Courtney Love keeps slipping into facile acting tips (faraway looks and open-mouthed depression). Both are watchable, but "Beat" should have been more. ** from ****

Although not a patch on Cronenberg's wild and fabulous "Naked Lunch" this is a pretty solid look at the year prior to Joan Burroughs death (an incident which was also the catalyst for Naked Lunch") Certainly, this is preferable to the boring "The Last Time I Committed Suicide". The director/writer mostly avoids the clichés of the "hey your so square daddio" type to concentrate on the less celebrated 'minor character' of Joan Burroughs as played by Courtney Love. Love captures dichotomy of being a strong woman trapped in a man's world well and there is a beautifully haunted quality to her performance as she goes from good time beat girl to wife of drug addicted Burroughs. keifer Sutherland as Burroughs is not great casting though; he does a good imitation of the voice but doesn't project the same charisma as Peter Weller did in the same role. And this could be the films failing- why is Joan attracted to him? The film shows none of the genius of the man nor any reason why she would tolerate his coldness, his gayness and his drug abuse whilst she is left at home with the kids and thoughts of a love affair that could have been. Still a fairly enjoyable, if minor film