Anos Loucos

I wasn't expecting much (truth be told) but was quite pleasantly surprised. As much as history equates to fiction (and from what I've heard/read this movie must be taken as a work of near-fiction.. "sources" being what they are..) this story still made for a pretty good motion picture. Courtney Love is a very good actress, and not many parts is she better suited to than that of Joan Burroughs. I liked her performance. Keifer Sutherland also made a pretty convincing Bill. The guy that played Lucien Carr (Norman Reedus?) was also impressive.

As "interpretive" as the story was I didn't resent it as much as I thought I might. I imagine William Burroughs, were he still in the land of the living, might have had a few issues with this film but hey, movies always without fail in-one-way-or-another romanticize the truth (truth, truth.. mmmm.. ponder it) and the movie DID do that.. but not as grotesquely as it could've and for that, if nothing else, I liked it. Well-observed (in a secondary, nobody-here-was-actually-there, speculative kind of way) the story still flowed (aided by the, in my opinion, very good performances.) Keifer made William Burroughs seem to have emotions, and strong ones at that, which was interesting.. as you never really picture him like that. (Going by the tone of his spoken-word recordings maybe? the dour face? the slightly contemptible countenance? I don't know.. you just never think of him as the howl-at-the-moon type.. I think Keifer's attempt at humanizing him was quite admirable really.)

The script wasn't bad (could've been MUCH worse.. riddled with beatnik cliches..) there were no real cringe-worthy moments (no-one said anything to the effect of "are you hip to all that jazz" etc etc.. which was a relief.) I liked the movie overall. It's no major statement, and you'd do infinitely better to read some of the great biographies out there if you want an overview of the tale and the beats in general, but the movie is a harmless, and quite enjoyable, footnote.

I liked the quotes at the end (their attempt at a summery i suppose..) especially the gorgeous quote from Lucien Carr. Oh yes and Ron Livingston was also in fine form as poor old lovelorn Allen Ginsberg.

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

Look I think William Burroughs was one of the most important figures in not only post-War literature, but in pop culture generally. His work and ideas, and those of the other Beats, have had enormous repercussions on all kinds of arts, and have directly or indirectly affected many of our lives whether we know it or not. Burroughs life was almost as fascinating as his work, but you wouldn't know it from watching 'Beat', as it manages to condense some fascinatingly uncliched relationships into a soap-like love triangle.

I was suprised at the casting of Kiefer Sutherland at first. He isn't an obvious choice to play Burroughs, but he tries hard to humanise him. Unfortunately the thin script doesn't give him much to go on. Likewise Ron Livingston (best known for 'Office Space') does fairly well as Allen Ginsberg, but the script doesn't convince with it's simplistic, almost stereotypical drawing of a complex figure. Lastly, Courtney Love is fine as Burroughs second wife Joan Vollmer, but once again the writing simplifies a multi-layered person into an easy to grasp "character".

It speaks volumes that Cronenberg's surreal 'Naked Lunch' manages to give a much richer and more convincing depiction of these tragic events than the more "realistic" 'Beat'. Perhaps the only way to really deal with the Beats on screen is to aim closer to the approach of their own poetry and prose. The definitive movie portrayal of Burroughs, Ginsberg and co has yet to made. I hope one does eventuate as it's a story that NEEDS to be told!

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.

A great find for anyone who finds themselves enjoying the Beat Generation literature, this is the story of one of the most tragic and pivotal points in their story, the death of Joan Burroughs.

Lucien Carr and Allen Ginsberg, on the eve of their skyrocket to fame, take a trip to Mexico City and visit Joan and William S. Burroughs. Burroughs has excused himself to Guatemala with a boyfriend, so Joan and the two old friends hit the road, reflecting on Lucien's time in jail, unrequited love, Bill's adultery, and the entire meaning of what exactly Kerouac was romanticizing. If you aren't drawn to the Beats and their story, you may want to stray away. However, if you want a sort of proto-"On the Road" mixed with the true story of the events preceding this pivotal moment in Beat history, you will enjoy this film.