Clean, Shaven

Peter Winter is travelling across an US state to find his daughter who was put up for adoption following his wife's murder. He suffers from some form of paranoid schizophrenia and is gaunt and haunted looking. Meanwhile a detective is following a trail of murders and believes that the trail leads to Winter.

This is a very edgy little film. I didn't know what it was about when I watched it - I don't know I would have watched it if someone had described it to me. The story unfolds with very little dialogue and doesn't exactly have a plot to speak of. Instead the film puts us in the head of Winter and also comments on society's view of these people.

The audio track is the most disturbing part - full of electrical crackles over strong dialogue (from his life? From movies? We don't know). Most likely these are his `voices'. We also see things through his jumpy eyes are have visions like he does. The most disturbing part is where he removes his own nail to get the transmitter `they' put there. The relentless pursuit of the detective represents our mistrust of these people and the ending makes a clear judgement on his (our) actions. The final shot is a fine summing up of a child's innocence.

Greene (best known for Usual Suspects or Zed in Pulp Fiction) is really good in a role that a big star would have hammed up. He looks totally believable in the lead. Robert Albert is good as the sheriff and mixes his character's morality really well. The film is not a fun time to be had by all! It's plot is weak and the lack of dialogue, weird happenings and lack of explanation may frustrate some. However it is only 80 minutes long so it never drags, it captivates by being so very different and it is very thought provoking.

Overall it's worth a watch - it is edgy and interesting, not the most fun you'll ever have, but then it isn't meant to be.

Peter Winter is a young schizophrenic who is desperately trying to get his daughter back from her adoptive family. He attempts to function in a world that, for him, is filled with strange voices, electrical noise, disconcerting images, and jarringly sudden emotional shifts.

I do not believe this is a very well-known film. I say this because despite it being released by the prestigious Criterion Collection, it was not a title I was familiar with. And I like to think I know movies. (maybe this is naiveté.) Although this went under the radar, I think it deserves a look by anyone who is interested in mental illness, especially as depicted on film. This is not sappy, or starring Sean Penn, or anything we might expect from Hollywood. this is a serious attempt to show the problems the mentally ill face... and it does not leave room for too much happiness.

Peter Winter (Peter Greene) is a tormented schizophrenic man who is let out of a hospital despite suffering from extreme symptoms of nearly continuous auditory hallucinations, paranoia, and a highly fragmented, discontinuous sense of reality. His one steady goal is to find his young daughter, Nicole (Jennifer MacDonald), who has begun a new life as an adoptee, following the murder of her mother. Peter first visits his own mother, a taciturn, emotionally withholding woman who is not at all pleased to see him. Later he discovers his daughter's whereabouts, when her adoptive mother brings Nicole to visit her grandmother (who is as chilly toward Nicole as she is toward Peter). Meanwhile, a police detective (Robert Albert), searching for a serial child killer, has concluded that Peter is his man. A fateful ending is set up when the detective encounters Peter with Nicole at an isolated beach.

There are serious flaws in this film: the screenplay is not well wrought and is too full of ambiguities, especially the entire serial child killing subplot. This is highly distracting. The acting is second rate, except for Greene's and MacDonald's performances. The film's strength lies in Kerrigan's insightful deployment of sound, setting and other effects to create the clinical realism of Peter's schizophrenic experience. Peter's intense, perpetual fear is palpable. Much of the film is shot in his car, where he has placed masking tape over the mirror, and newspaper over several windows, to fortify his privacy. The effect is an impacted atmosphere of paranoid insulation. Peter's hallucinated auditory experience – garbled voices, static and other noise, unaccompanied by any visual representations – is clinically valid. The voices and noise haunt him steadily. He tells Nicole he has had a radio device implanted in his head, with a transmitter in a fingernail. Earlier we had been exposed to his violent efforts to rid himself of these devices using scissors or a knife to gouge them out – forms of delusion-driven self-mutilation that are uncommon but not rare in persons suffering the throes of severe acute psychotic episodes. The use of tight close up camera angles - viewing Peter from just behind his back or in profile in his car - heighten the sense of claustrophobia, the extreme narrowing of Peter's psychotic world. The setting - Miscou Island, in New Brunswick – adds further accents of wildness and isolation to the overall tone of the film.

It can be argued that the detective's pursuit of Peter adds yet another source of paranoid fever to the film, though for me this conceit does not ring true. The fact that someone really is after Peter detracts from the power of his delusions. Other than this, Kerrigan can be congratulated for steering clear of the false visuals (realistically visualized imaginary friends and enemies) and other clinically implausible effects that Ron Howard used more recently in A Beautiful Mind. Anyone – professional or lay viewer – might rightly wonder how Peter could be discharged from the hospital in such poor psychiatric condition. Of course that happens every day in most contemporary short stay hospital settings, because involuntary treatment laws in most states prohibit keeping patients against their will except in the most extreme circumstances of immediate potential for violence. But we are given the impression at the start of this film that Peter had been incarcerated in a more traditional mental hospital, the sort in which people stay for long periods before discharge, until they appear relatively free of symptoms, sometimes longer. Of course these large old facilities are typically short staffed, keen clinical observation of patients may be scarce, and patients not uncommonly can muster a façade of normality to win their freedom.

The depiction of Peter's mother is also troublesome. Her grim withholding of affection for Peter and Nicole resurrects the spectra of the 'schizophrenogenic mother' – a psycho dynamic fiction popular the 1950s and 60s that accused parents, especially mothers, of causing schizophrenia through self serving, unaffectionate regard for their children. This myth was laid to rest long ago, and it is a black mark against this film to see such a notion resurrected. It does not dispel the power of this negative maternal portrayal when, from a distance, we see the mother crying as she hangs one of her son's shirts on a clothesline near the end.

Clean, Shaven shares with David Cronenberg's film, Spider, the distinction of offering the most believable portraits of highly symptomatic schizophrenic experience that have been brought to the big screen. I prefer Spider because the acting is uniformly first rate and the screenplay is superior. Both films pull the viewer into an exquisitely painful, odd, lonely, and ultimately unrewarding world, into experiences that many moviegoers would, no doubt, prefer to avoid. Dramatically, this is a "C" movie, but the portrayal of schizophrenia rates an "A."

I will never forget this movie - it chills me every time I see it. What I like most about it is that it contains very little dialogue (unlike "Cube") and is not very visually stylish (unlike "Pi"); the buzzes, static, and blurred radio broadcasts allow direct access into the protagonist's schizophrenic mind as he tries to remain somewhat sane while searching for his daughter given up for adoption by his mother. Peter Greene gives a stunning performance. Only a slightly formulaic ending mars this intense work of art; I cannot wait to see what director Lodge Kerrigan does next.

sorry, this isn't a Hollywood movie about schizophrenia, its not a killer/thriller, its not a gross~out picture, and its not boring. Not being schizophrenic myself i can't attest to the strict accuracy of the impression one is left with. All I can say for sure is that this is without question one of the most strangely beautiful, compassionate, powerful pieces of art i have ever seen.

The story is ultimately incredibly frustrating and deeply tragic, much like the life of its protagonist; poignant and scary start to finish. the cinematography captures the absurd beauty of the natural world and juxtaposes it with the terrifying strangeness of feeling utterly disconnected therefrom. Peter suffers from random auditory hallucinations, so we do to. He is deeply paranoid and almost utterly lost in the world; its clear someone is out to get him, and we are never sure whether he actually hurt anyone or not.

If you want to be spoon~fed something you've already experienced many times before, this isn't the movie for you. But if you appreciate being challenged, forced even, to see the world through a very different lens, you should really see this movie if you haven't already.