George Washington

GEORGE WASHINTON / (2000) ***1/2 (out of four)

By Blake French:

"George Washington" details the drowsy lives of several preteen friends during their last summer of childhood, and it feels so accurate how the characters behave in the slumberous, low standard society. This is the summer where their first crushes arrive and flowering sexuality gives them confidence instead of confusion. It is a summer where the heat is consistent and the days seemingly last forever with nothing to do. The movie is about how a tragedy can forever change the course of individual lives so unexpectedly and abruptly.

The setting is North Carolina on an industrial landscape, where we meet several black kids between the ages of ten and thirteen. The preteens are Buddy (Curtis Cotton III), who has a crush on Nasia (Candace Evanofski). She leaves him a young fellow named George (Donald Holden). George is a very interesting character; the plates in his skull did not meet correctly, so he must wear a protective helmet to cover his delicate head. George saves a child from drowning, even though his head is never supposed to get wet. He then walks around with a cape on, feeling accomplished like a hero. Then an accident happens, leaving the remaining characters with a lot to think about.

There is not a lot of active conflict here, just an examination of behaviors of a variety of characters. They are not your typical characters, though; they are so brilliantly portrayed they feel like regular, ordinary people. The performances are extraordinary. The atmosphere and melancholy setting play large roles in the monotonous tone, comparable conceivably with the work of Terence Malick. There is an honest and true sentimentality here, like the director, David Gordon Greene, wanted to inject personal and thought-provoking ideas in his innovative style, which sometimes seems a bit preachy.

"George Washington" is one of the most under appreciated movies of 2000. As I look over the Academy Award nominees I am disturbed. For the first time in a long time the members chose box-office successes over movie quality. Among the movies missing from the ballot are "Human Resources," "The Virgin Suicides," and "George Washington." The film is one of the year's most poignant and heartbreaking. Everything that happens here is so lively, so convincing, so extraordinarily absorbing. It is a movie not to be missed by those looking for great underrated movies.

Even though GEORGE WASHINGTON lacks the star power of the Reel 13 Indies of late (IMAGINARY HEROES, SUNSHINE STATE), it's still a high profile independent film. It's legendary in the industry as the first film from indie auteur David Gordon Green. It also already has its own Criterion Collection Edition on DVD, so Channel 13 can hardly claim to have made a discovery here.

As disappointing as it is that Reel 13 has gone away from bringing us films that are new to us (though not that many of them were very good), you have to acknowledge that at the very least, we get an independent film that is wonderfully cinematic and well-crafted. David Gordon Green has a pretty simple formula – not a great deal of extraneous camera movement, realistic characters and scenes that are lyrically cut together with beautifully photographed landscapes. There is a certain poetry to his work that is all his own – a style that he worked to even greater impact with his follow-up film ALL THE REAL GIRLS.

As similar as the feel of GEORGE WASHINGTON is to that film, it's narrative is quite different and deals with a handful of young kids in a small, poor town somewhere in the South (Arkansas? NC?) as they deal with tragedy and the unstoppable nature of growing up. The kids, whom I suspect are all untrained actors, are all quite good, albeit playing characters that are perhaps more mature than their respective ages suggest. That aspect, along with the verisimilitude and honesty of the scenes, reminds me a lot of Peter Sollett's work. Not as much RAISING VICTOR VARGAS (which airs on Reel 13 in May) than the short it was based on – FIVE FEET HIGH AND RISING – only Green accomplishes a similar effect without a hand-held camera.

There a couple of nitpicky things that keeps GEORGE WASHINGTON from being as effective as the previously mentioned ALL THE REAL GIRLS. For starters, it's a little slow and hard to hear at times. Paul Schneider, who is outstanding in a much more significant role in REAL GIRLS, is more of a distraction here than an asset. His character, ostensibly intended for comic relief, is like a sixth toe on one foot – it doesn't stop you from walking normally, but it's really unnecessary. I also felt the voice-over was also extraneous – as if Green didn't trust us to comprehend his themes. The biggest issue I had with the film, though, is the surreal turn it takes in its last twenty minutes or so. Without giving too much away, it relates to changes in the main kid character, which are personified by a radical shift in wardrobe. While I see the overarching purpose of the choice – to explicate how the character deals with some of his misfortunes – it is a major shift in tone for the piece and stands out like a sore thumb against the quiet beauty of the rest of the film.

Still and all, beggars can't be choosers and having sat through some very questionable indie films over the last few months, GEORGE WASHINGTON is a very welcome change.

(For more information on this or any other Reel 13 film, check out their website at www.reel13.org)

After only writing a few reviews, I promised myself I would not give a film a perfect score too easily, but I cannnot resist. George Washington is truly astonishing and touching piece of cinema. Some people have called one of the best films of the new decade. This is definitely not too far from the truth. As the summary had said it is told very deceptively but we do not know the director has up his sleeve both plot wise and emotionally.

One of the best things about this film is its realism. David Gordon Green captured the essence of how kids today speak. Often we find in the usual "tween" movies that the young kids speak perfect English, always have good posture, speak with a clear voice, and have a wide vocabulary. I sound like one of my teachers. In the real world, this is not how kids actually talk and Mr. Green should be commended for bringing this to the masses.

As many people know, this film has great cinematography and the location is an area rarely seen in movies today. It even rivals Malick's. The opening scenes in particular have great cinematography. They are a hook to the viewers that enchants them to keep watching. The sub-satisfactory location is turned into a beautiful not quite urban or rural town of mystery and intrigue.

Yes, I will say it. This film is very moving. I know I will sound like a sap but it is moving in the true sense of the word. It is never overly sentimental or sappy. It feels so genuine. Few films recently have been so affecting on this level. The film has a very provocative take on redemption I like how the director used amateurs to add even more realism to the movie. The acting was pretty good, too. Stay clear if this movie if you do not have a good attention span (most reviewers are complaining about this). It is drawn out but oh so rewarding. Highly recommended.

Don't look for a simple, linear plot line or resolutions to what you think are the problems. "George Washington" is the offspring of "Gummo" and "Stand by Me", and a very distant relative to "Eraserhead" (but with a soul). The dialog is often beyond the age, character, and scope of the kids depicted (similar to "Brick"), which can be disconcerting, yet, when suspending disbelief, remained interesting. The scoring is dark and moody – and seldom lets up. On occasion, the lack of actor training can be seen in the kids, but for the most part they do a good job. The locations are full of dying and dead culture – rich, textural, beautiful crumbling Industrial Revolution. This is a ponderous, sometimes overly artful film that is none the less worth seeing and considering afterwards. It has things to say – and you're expected to use your own mind.

When I first saw "George Washington" at the L.A. Independent Film Festival, I remarked to a colleague that I wasn't sure if the film was "brilliant," or if it was "a student film." He remarked, in kind, that "it was a brilliant student film." At the time, I agreed. But after repeated viewings of "George Washington," I think I am starting to encounter its sheer sublime brilliance... and in retrospect, it is one of the most beautifully realized films I've ever seen. As a Southerner, I can't recall a film that has better captured the mood of the rural South. The film's languid pacing--set amidst its plush backdrop of swimming pools, the rusted steel of dilapidated factories, children playing in the sun, immense greenery, and diverse ethnic culture--continually transports me back to the South that I experienced growing up. Its operatic photography mixes a complex cinematic chemistry that, for me, feels more and more like a documentary in tone the more I watch it. Yet for all the film's structural "looseness," there is that one story strand that seems to always hit from an unforeseen angle, which softly jerks you back to the story just as you start to think the film is losing focus. The film's pace seems centered on this hypnotic lulling style: the narrative rope slackens almost to the point of no return, until all of a sudden that rope is pulled taut by its sheer weight. Other reviews here accurately describe what "George Washington" is about, so I will defer to them for story description. Unfortunately, in many descriptions here, people (mistakenly) see "randomness" in the film's structure. But the story's elements are just so beautifully and intricately weaved that one can actually leave the film truly wondering if there was any structure to it at all. This is absolutely not a "by chance" occurance. It is the mystifying brilliance of this classical tale: the languid pacing almost fosters Southern-style "forgetfulness" to the point that the story seems to forget about itself and fold inward. All the stories fall into each other so smoothly that it's easy to forget and begin wondering "what happened?" But this style is in fact the film's structure, and is absolutely the intended hypnotic effect, which is so reflective of the mood of Southern culture (if I am allowed to state this so broadly). I've now seen the film about ten times, and I can confidently state that "George Washington"'s immense subtlety in this regard should not be overlooked. There are many examples of backstory that David Gordon-Green (the writer/director) leaves just underneath the surface, waiting to be found. For example, in the relatively minor scene where George visits his imprisoned father, it's amazing to consider just how much that simple scene reveals of George's strange circumstances. Without being obvious and saying directly to the viewer "x happened, now y occurs," we are all of a sudden introduced to George's complex emotional world. We are given an image (but not an explanation) as to why he now lives with Damascus. What's the backstory here? Did George's father murder his mother? We are told nothing directly. But after the incident with Buddy, George is able to come to some sort of terms with his father--who remains silent, smoking a cigarette behind bars. George tells his father that he once didn't believe him, but now believes him... and loves him. The film's central theme--that of George becoming a hero--is most exemplified in this moment... and is in my estimation the biggest character building moment of the film. In a quick two minute scene (which, action-wise, is relatively forgettable), we all of a sudden encounter George as a growing adolescent in a very complex adult world: as guilty, as scared, as proud, as strong, as knowing, as forgiving. It's as though his conscience were born in that moment of inner conflict, and provides the measure for his becoming a hero later in the film. (As a wise man once told me, one can only become a hero by being, at some point, the opposite of a hero.) I think the typical response that George's heroism is ironic in the film should be discredited by the depth of his character. Far from ironic, he is simply a hero who begins to grasp the price of heroism. "George Washington" is rife with little gems like this. So many subtleties abound here, like Nasia's fascinating narration told from the future perfect tense (revealed only once in a phrase halfway through the film)--told as though the story were some sort of Southern archetypal memory. Or Damascus' pre-text for quitting his job, so subtley inserted in the beginning that you forget about it by the time you realize what his phobias are. Or even George's breathtaking "admission," as indicated in the interrogation office through a jerk-reaction sniff that seems to come two paces too late. How much is revealed in that small action! "George Washington" is one of the most artful and intricately directed films I've ever seen. It is the kind of film that, like its story, will never crack the (canonical) surface because of its deep subtleties... but which, because of that, is what will always make it shine.