Drugstore Cowboy

Excellent movie that stands the test of time and is likely even more relevant today than when it was made. Not exactly a feel good flick but if you're in the mood for a little depressing drama, this movie will not disappoint. Excellent characters, script, and acting. Matt Dillion crushes this role and a young Heather Graham is icing on the cake. Really a well done film across the board, definitely worth seeing

If you're one of the so-called `art-film' aficionados who was disappointed, as I was, by Requiem for a Dream (and even if you weren't), you'll love Drugstore Cowboy. Directed by the man who gave us such classics as To Die For and Good Will Hunting, Drugstore Cowboy is, without doubt, Van Sant's greatest work. It's a magnificent time capsule from the early seventies, having no reference to the Vietnam War, Kent State, or any other icon of the period. It's purely about the drug subculture.

Set along the affluent north Atlantic seaboard, where pharmacies and drugstores litter the urban landscape, the drama revolves around four friends who support their drug habits by robbing the official dispensaries of addictive substances. An interesting and compelling setup all by itself, in lesser hands, the script and action would be enough to produce a decent flick; but, it goes way beyond that. Matt Dillon gives what I think is his best performance ever, a perfectly charming substance abuser who has created a little cocoon of a world all to himself. Like little moons revolving around his dreamy and sometimes terrifying little world, the drugstores he stalks all promise a one-way trip to a different place. As viewers, we're all sucked in by the gravity of his world, such that we even begin to understand and believe his peculiar little superstitious rituals. In this special existence, they make sense. To transgress against the rules is to court disaster. And like Adam in the garden, he eventually breaks his own rules, and pays the price.

But it's a fortunate fall from grace. Drugstore Cowboy is completely realistic in its portrayal of the full-blown addict's hitting rock bottom, an experience that is foundational in the wisdom of AA. The recovery scenes are moving in their sincerity and simplicity, none of which is sugarcoated or saccharine. And yet, the recovery scenes are both joyous and heartbreakingly poignant. God, what a great movie.

I lived in San Francisco all through the 1970's and saw tons of these kinds of people. They all tended to "group" together for the common purpose of scoring and getting high on any kind of drugs available, but the drug of choice always seemed to be heroin. These groups, or small communes, always tended to have a strong leader who ran the whole show for the group and issued "orders" like a drill sergeant, but interestingly, in a very "loving" way. And nobody ever seemed to question this leader. In fact, HE always seemed to be treated with complete deference (reverence???) as if HE were some kind of a star. Everybody in the group seemed to have a specific "job" to do within the group, and their jobs seemed to define their value to the group and, hence, their "right" to be there. Except for the fact that they existed in the general "hippy" milieu of the time, they never showed any signs of being interested in the presumed hippy world view. I always felt the groups simply represented highly efficient, small business concerns. These people were known thieves, drug dealers, and small-time con artists and, if left alone, they were not considered dangerous. In fact, they were typically very intelligent and interesting people, but very closed-off to the world outside their group. Each group was like its own little cult.

The group portrayed in Drugstore Cowboy would have fit in perfectly with what I remember from that time, except that there were typically more people in the groups than just four. I would say these groups numbered more like six to eight people, certainly enough to occupy a large flat or house in one of the cheap neighborhoods. The fact that the cost of living was so much cheaper back then allowed for this type of lifestyle. And it was only when the real estate boom in San Francisco in the mid-to-late 1970's precluded this type of communal existence (lease applications, leases, personal references, high deposits, etc.) that these "illegal" groups tended to disappear. The ease with which the group in DC moved from one living space to the other would become impossible due to these new economic and social realities (higher rents and stiffer rules). Yes, even in Portland.

Anyway, this movie really resonnated with me and triggered my memories of that time, and I think it's accurate to say that this is truly a "period piece." I'm certain that the DC group could have only existed in the early 1970's, and certainly no later than say 1974-5.

I have no idea why I felt compelled to write all this seeing as how it has very little to do with the movie, which I loved. Thank you!

This is a period picture that takes place in 1971, but there are no references to Vietnam, the flower power movement, Kent State or any other issues or events of the day. This is because the characters have nothing to do with that world. Bob's thoughts revolve around drugstores like planets around the sun. His family of dope thieves lives in almost total isolation. Even junkies who come to do business are admitted to their home with reluctance and then rudely sent on their way. Their only contact with the "other" world is its drugstores and its cops. They live in a world not ruled by the authorities, but by "the dark forces that lie hidden beneath the surface, the ones that some people call superstitions: howling banshees, black cats, hats on beds, dogs, the evil eye..." In his world, Bob's lunatic logic makes perfect sense and serves him as a guide for living better than any "sane" worldview.

When the crew goes "crossroading" to the tune of "the Israelites" we realize that they, too, are like children of a different god; wanderers whose only contact with others is hostile confrontation. They are either "attacking" drug stores or being attacked by ball-breaking cops.

Kelly Lynch, who plays Diane, said in an interview that, "The first take was terrible and Matt (Dillon) said he wouldn't support the film." It is not surprising that a film this ambitious should run into some snags. A great film like "DC" is a tightrope act. The best scenes in the film are also the riskiest; they would have fallen apart in the hands of lesser actors.

If you like the film you might get a kick out of the autobiographical novel on which it is based, by James Fogle, the original drugstore cowboy. At the time of the film's release (1989) Fogle had spent "thirty-five of his fifty-three years in prison on drug-related charges." I wonder what ever became of him.

Matt Dillon delivers one of the best performances of his career in Drugstore Cowboy, a gritty film about the real life of junkies. There is heavy drug content in this film, but in no way is the drug life glorified. We see the more realistic life of drugs on the streets, which is probably what makes this such an aesthetically unpleasing film. No one in the movie looks good, it has just about as much ugliness as a spectacularly ugly movie like Buffalo '66, which enhances the realism of the film. Much of the film is shot in a documentary style, giving it a gritty, realistic feel, almost like a twisted home movie.

Dillon plays the part of Bob, a young junkie in the early 1970s who goes around with his group of friends breaking into pharmacies and drug stores and stealing random bottles of prescription bottles looking for their next high. The movie starts at the end of the story, with Bob riding in an ambulance and telling us the story of how he got there, but has the pleasing distinction of not leading you exactly to where you knew you were going to be. Even by showing the end of the story there is nothing given away. This is a powerful drug film that doesn't hold anything back. It is not pretty to look at, but also like Buffalo '66, it's hideously unattractive counterpart, the movie has something to say.