Napoleon Dynamite (2004)
I waited in the rain to go into
the Alamo Drafthouse during SXSW 2004 to see "Napoleon
Dynamite" and found myself unaccustomed to having
to maneuver an umbrella in a crowd. It's very important
to be conscious of your surroundings when attempting
this undertaking. I finally got into the inside and
headed upstairs while the line moved slowly forward.
The hold-up was so that the RIDICULOUS FUCKING ASSHOLES
OF FOX SEARCHLIGHT FILMS could check everyone's bags
and wand them for metallic items. I admitted that
I had a camera but I was press and that my camera
was approved by SXSW and THE FUCKING ASSHOLES MADE
ME LEAVE MY BATTERIES WITH SECURITY. Is that not the
stupidest fucking thing you ever heard? I left my
batteries and while heading up into the lobby shouted,
"IT'S A FESTIVAL!" I felt better anyway.
I realized the screening would be
full to the brim so I made the quick decision to not
eat or drink (no waiter ever ask me if I wanted anything
anyway) and to give the film a horrible review because
of the RIDICULOUS FUCKING SECURITY. Fuck these moronic
fucking assholes. The overwhelming evidence continues
to support the fact that it is the labs and the effects
houses and other people who get to prints of the films
before the public are the ones pirating these films!
That Fox Searchlight and a number of other distributors
insists of harassing the people who come to see their
films (mainly people they are hoping will promote
the film by "word of mouth") is just absurd. This
piracy hysteria continues to be out of hand and the
distributors are ridiculously pissing off the very
people who might promote the film for them. Whew.
I fumed for 30 minutes and I hated the film. I still
don't know if I hated it because it was bad or because
I was so pissed off at the distributor.
So can I give you an honest evaluation
of the film after the fuckers who are spending millions
of dollars on it pissed me off so badly? I'll try.
The film often seems like an "SNL"
skit that goes on for 80 minutes. The titular character
is played by Jon Heder, a young man who seems to have
taken this one unique and quirky character and physically
and mentally embodied him. His performance reminded
me very much of Heather Matarazzo in "Welcome to the
Dollhouse" and I think it will be a long time before
anyone can separate him from the role. But, in fact,
the film is much to reminiscent of that Todd Solondz
film. It's as if some kid who saw "Dollhouse" nine
years ago when it was released grew up and decided
to become a filmmaker.
But where "Dollhouse" was dark and
cruel, "Napoleon Dynamite" is quirky and funny. Without
a doubt there is much angst here but none of the excruciating
dark underbelly that Solondz insists upon. This film
was much more in common with Gilda Radner's Lisa Lupner
than it does anything cryptic or cynical. Eventually,
we grow to love Napoleon and our love of him does
not go unrewarded by filmmaker Jared Hess, much as
it might if Solondz were in charge here.
This is a film about life in the
land of the nerdy and eventually you just begin to
fall in love with its spirit and charm, even if it
seems to be pretty much a one-note film with nothing
particularly new or interesting in the script. Heder
just cannot help but win you over. Watching him, we
are reminded of so many of the nerds we knew in school,
even if he is a complete exaggeration. Notice how
Heder often has his eyes closed or nearly shut in
the film. He isn't just acting, he is embodying a
character. He IS Napoleon Dynamite.
The film has a real low-budg feel
but that only helps to make it more charming. Although
obviously set in modern day (there are cell phones,
computers and discussions of Internet chatting in
the film), the film has a real 80's retro feel to
it. Set in Idaho, this feeling doesn't emerge as hip
and cool but rather reflects that Midwestern small
town feeling of being WAY behind the times.
In addition to Heder, several members
of the cast are quite exceptional. Of course, most
of these have been in films for quite a while with
the exception of Aaron Ruell who is just perfect as
Napoleon's equally nerdy older brother. Much 80's
feel is gained from John Gries' Uncle Rico (who actually
wants to go back in time to 1982). Meanwhile Tina
Majorino, Emily Kennard, Haylie Duff (Hilary's sister),
and Shondrealla Avery makes interesting feminine counterparts
to the males in the film. The best counterpoint to
Napoleon, however, comes in the form of his new Hispanic
schoolmate Pedro, played wonderfully by Efren Ramirez.
Ramirez is the only actor in the piece that matches
the wonderful tone set by Heder, but then again he's
the only actor who has to. Together this wonderful
ensemble make the entire film, even with its loosely
structured plot and script, come to life. They also
make it often as funny as hell.
Damn those security Nazis for making
me pissed of at the beginning of this film. I wanted
to hate it. I just couldn't.
Notes:
Also with Diedrich Bader.
Written by Hess with his wife Jerusha.
She also does costumes here.
Heder played a similar character
who was named Seth in Hess' 2003 short "Peruca" which
screened at Slamdance. This film premiered at Sundance
in January 2004. Fox Searchlight acquired the film
for distribution but is yet to set a date for its
release.
