True Stories

Virgil, Texas is a sleepy little town as American as apple pie and just as sweet. The townsfolk are preparing for a so-called 'Celebration of Specialness', to mark the sesquicentennial of Texas' independence, which has attracted the attention of a talkative, cowboy-hat sporting stranger. This enigmatic stranger guides us through the town and introduces us to its people, showing us the beautiful strangeness of everyday life in Virgil. David Lynch once said that if "one looks a little closer at this beautiful world, there are always red ants underneath." In Virgil, the ants are on the surface.

A surreal musical-comedy directed by David Byrne and written alongside Stephen Tobolowsky and Beth Henley, 'True Stories' is a delightfully absurd film that paints an affectionate portrait of life in a small American town. Full of eccentric, compelling characters- such as the lonely Louis Fyne and the lethargic Miss Rollings- the film is consistently entertaining in an offbeat manner. Consisting of quirky vignettes and permeated with Byrne's brilliant music throughout, 'True Stories' plays a little like a comedy 'Blue Velvet'- minus the sexual and psychological violence, of course.

Like Lynch's film, 'True Stories' celebrates the diversity and creativity of American culture, and finds joy in the ordinary, peculiar and mundane. Byrne, Tobolowsky and Henley's dialogue is idiosyncratic and the way in which Byrne weaves his songs into the narrative is terrifically clever. Though some might find the peculiar tone and satire not to their tastes, for anyone who enjoys the films of Jim Jarmusch, The Coen Brothers, Aki Kaurismaki or the aforementioned Lynch; 'True Stories' will entertain greatly.

It is also a technically impressive effort, with Ed Lachman's cinematography being particularly outstanding. His work enhances 'True Stories' satirical tone while complementing its whimsical humour and charm. Lachman captures the vibrant landscapes and quirky details of Virgil with a keen eye, utilising bright colours, natural light and wide-angle shots to create a sense of openness and awe. This he contrasts with darker tones, artificial light and close-ups to create a sense of intimacy and mystery. Additionally, he employs various camera techniques- such as tracking shots, zooms and freeze frames- that emphasize the rhythm and energy of the musical numbers, as well as Byrne's narration.

Speaking of the musical numbers, fans of Byrne and Talking Heads will find them delightful. Ranging from bouncy hits like 'Wild, Wild Life' and 'Radio Head' to ballads like 'Dream Operator,' they mark some of Byrne's most heartfelt and witty lyrics, as well as some of his catchiest melodies. They also bolster the film's satirical tone, and the down-to-earth strangeness of its characters. Admirably performed by various members of the cast, each and every song is memorable. Though perhaps the rerecorded versions that made up Talking Heads' penultimate album are better known, the original songs as performed by the cast make up a vital part of 'True Stories' charm and humour.

While on that point, all in the cast perform brilliantly, bringing a sincerity and a quirkiness to proceedings that fits the material- and their roles- perfectly. John Goodman shines as Louis Fyne, the lovable and lonely bachelor longing for romance who sings his heart out. Swoosie Kurtz is equally hilarious as Miss Rollings, who never leaves her bed and has everything delivered to her. Spalding Gray and Annie McEnroe also do fine work as Earl and Kay Culver, a bickering pair of civic leaders who communicate through their children and their television. And of course, David Byrne himself is a captivating narrator and guide, who interacts with Virgil's townsfolk with an endearing mixture of curiosity and respect.

Unique and charming, 'True Stories' showcases David Byrne's incomparable vision and talent as a director, writer and musician. Featuring numerous humorous vignettes that paint an original, surreal tapestry of small-town American life, as well as great dialogue and pointed satire, the film is a delight from start to finish. Boasting a brilliant soundtrack, striking cinematography and fine performances from all in the cast, 'True Stories' is a truly strange, truly brilliant piece of fiction.

In the fictional Texas town of Virgil musician David Bryne arrives to make a documentary about the inhabitants. He meets a raft of characters at the same time as the town's `celebration of specialness'.

What is it? A documentary? A comedy? A rock film? It's not clear. However despite the unclear genre it still manages to be good – even if it's an unique film in terms of style. The comedy comes from both Bryne's and our bemused observation of the slightly kooky nature of small town life.

Bryne is a great narrator. He has a bemused quizzical air the whole time and many of his `to camera' lines are very funny if a little surreal. The characters themselves are almost worthy of Altman in terms of how quirky yet believable they are. Goodman is the best as the lonely ladies man looking for love. But other characters such as the lying lady (Allen) and the eccentric owner of the town (Spalding Gray).

If you don't like the music of David Bryne and the Talking Heads then you may dislike this as much of the second as it becomes mainly music and less Bryne. However it still manages to be funny. Overall this is much better than expected and fans of Bryne will simply love it.

Of all movies that seem to, for some reason, want to glorify the 80's - this film shows us simply how we were. Should be placed in the Smithsonian.

Don't compare it to Guffman or any other movie. I doubt Byrne thought of it as any sort of genre piece - in fact it's hardly a movie at all. It's simply what happens when a talented performance artist is given a lot of money.

I weep, however, for Warner Brother's marketing department as they tried to sell it. All in all they failed. Tag line should be: "We gave David Byrne a lot of money to make a movie, come see what he made."

Follow the "external review" link to Roger Ebert's excellent review.

At this late date, TRUE STORIES – the lone feature film directed by renaissance man/rock-n-roll artiste/ex-Rhode Island School of Design student David Byrne - is viewed (if remembered as all) as a cerebral artifact from the 80s. TRUE STORIES is a far from flawless film, and its' influence is highly debatable. But the 90s saw an explosion of films wrapped in an aura of aloof, ironic cool – bits of very low-key postmodernist voyeuristic glimpses into the day-to-day lives of 'ordinary people' – either lauded or ridiculed for their 'authenticity.'

Simultaneously, a number of feature films were also exploring the limits of a dubious sub-style known as faux-documentary. And – great or not – this fascinating film reworked the possibilities of both long before most of the competition. In essence, this is a very detached take on the musical – set in fictional Virgil, Texas – a small-but-growing prairie boomtown notable for its antiseptic normality. Each of the principal characters are based upon people Byrne (who co-wrote the screenplay) had read about in tabloid newspapers – hence the man so lonely he buys commercial time to advertise himself on TV (John Goodman), the laziest woman in the world (Swoozie Kurtz), the world's worst pathological liar (Jo Harvey Allen), and spectacles like the mall fashion show, where we get to see (among other treats) a 3-piece suit made entirely out of lawn clippings (What?!?! No macramé, velvet paintings, tractor pulls or decoupage?). Byrne – who appears as a travel guide/narrator - gently escorts the audience through this offbeat parade, as the varied denizens of Virgil do what they do, occasionally pausing to sing one of the numerous songs (genre exercises well-matched to the characters - watch for a great 'Papa Legba' performed by the late Pops Staples) written by Byrne for the film. At worst, TRUE STORIES could be viewed as the enthusiastic and genuinely inspired work of an ambitious, intellectual urbanite who really, really ought to get out more – and Byrne should be credited for not indulging in the sneering, aloof insularity that has occasionally infected more recent films of this variety.

But at best it comes across as a genuine attempt at presenting a unique variety of homegrown, Americana-style surrealism – something that might possibly qualify as a specific strand of folk art and culture that would be a rural counterpart to what folks like Keith Haring, Laurie Anderson, Barbara Krueger, Spalding Grey – and Byrne – were doing in the insular world of Manhattan in the 1980s. TRUE STORIES looks amazing – thanks to the sparse cinematography, and Spalding Grey, John Goodman (as Byrne's comic foil) and Pops Staples are all great. A genuinely seminal, if flawed film.

I'm wary of Talking Heads or David Byrne fans that hated 'True Stories.' This film has David Byrne written all over it, and is possibly the ultimate expression of his sensibility.

Byrne was always a most unusual rock star. The only other musical figure in my mind that comes close is Laurie Anderson, and they were both part of the same scene. Byrne's personality is most intriguing and ambiguous; strange, yet unaffected, nerd-ish, but not nerdy, fascinating, but not theatrical. An outrageous introvert, Byrne is like the odd little boy who instead of playing with the other kids, spends his time tinkering and tooling with his parents' electronics -- except, Byrne is a cultural tinkerer, looking at things from a perspective so delicately skewed that a casual glance might reveal nothing at all out of the ordinary. In this manner, "True Stories" is like a David Lynch film in its depiction of small town weirdness, but where Lynch sees a sinister underbelly to the banal, Byrne remains sunnily ambivalent.

The cinematography here is done by Ed Lachman, who has worked with directors such as Paul Schrader, Werner Herzog, Wim Wenders, and Steven Soderbergh. It echoes David Byrne's own photography in the way it flatly looks at objects and places head-on, revealing irony by being unironic. A lot of critics have accused Byrne -- from his hipster Lower Manhattan pulpit, I guess -- of contempt for small-town America, but is that really evident here? I don't sense that Byrne is ridiculing any of these characters so much as simply regarding them, perhaps even with some degree of affection.

The look and feel of the movie reminds me of Jim Jarmusch's films a bit, but there aren't really any "stories" told here so much as light vignettes. Upon viewing the film for the first time, one might be underwhelmed, but this is the sort of movie that sneaks up on you upon repeated viewings. There's a lot to treasure here. David Byrne stars in the film as the "narrator," a sort of tour guide that Steven H. Scheuer described as a "new age Mr. Rogers" (doesn't Byrne kind of remind you of Mr. Rogers? I mean, what can be said for a rock star that reminds you of Mr. Rogers and makes completely funky music?), showing the viewer around the fictional town of Virgil, Texas. We meet Virgil's various oddball inhabitants. John Goodman is the world's most eligible bachelor, so desperate for matrimony that he places a "Wife Wanted" sign on his front lawn (in the shape of an arrow, with blinking lights) and appears on television in a commercial advertisement, boasting a 1-800 number for interested bachelorettes. Swoozie Kurtz is the world's laziest woman, who hasn't left her bed in about a decade, which is the same length of time for which Earl Culver (Spalding Gray), founder of Virgil-based corporation VeriCorp, has not spoken with his wife, with whom he is happily married. And then there's Mr. Tucker, the town's voodoo priest and part-time caretaker of the world's laziest woman, played by 'Pops' Staples who is a sweet, gentle angel here, and whose "Papa Legba" furnishes the movie with its best musical number. We even get to attend church, where the pastor's sermon is like a compilation of conspiracy theories, questioning the link between Bobby Ray Inman, toilet paper and Elvis, leading into the song "Puzzlin' Evidence."

"True Stories" looks at small town America in a fashion similar to the way Tim Burton looks at suburban USA. With Talking Heads songs as well as original music by Meredith Monk, Kronos Quartet, and others, there's a magical quality that stirs beneath the surface. In possibly the film's best scene, ending in what looks like the most bizarre parody of The Last Supper I've ever seen, Spalding Gray gives an impromptu lecture over dinner about the future of Virgil, exploiting the entrées for metaphors while the dinner china quite literally comes to life to illustrate his points. In his customarily child-like deadpan, Byrne interjects, "Excuse me, Mr. Culver, I've forgotten what these peppers represent."

This film made me think of those historical museums you find in most small towns in America, whose employees are almost always lifelong residents of said small town, speaking with pride and conviction about the importance of their city. These are places for which Byrne clearly has an affinity, and also community centers, shopping malls, taverns, churches, and talent shows.

These places are absurd, yes, but also as wondrous as any theme park.