Summer
of Sam (1999)
Spike Lee's
fictional excursion into NYC circa 1977 during a hot
summer when the Son of Sam killer was on the loose is
nothing short of cinematic magnificence. At the heart
of the film is the dramatic undercurrent of a neighborhood
about to erupt in violence, the same theme that propelled
Lee's masterpiece, "Do the Right Thing." But here the
writer/director couples this theme with period pop music
and a much deeper understanding and more probing examination
of man's most basic emotions to present a film with
much subdued insight.
Lee investigates man's struggle to attain nirvana through
an exploration of his most basic instincts. This truly
is a 70's theme as no other time in our American history
did we attempt to discern this idea (whether consciously
or not) more fervently. The film shows us men, and to
a much lesser degree women, who find themselves tuning
in to their most primal nature. In the 70's one would
imagine that this was done through the use of drugs
and, indeed, this is part of the landscape Lee shows
us here. But violence, sexuality and music are used
to delve into this theme as well. It is no accident
that the seeming revolutionary thought of serial killer
as media star became prevalent in the 70's. Instead
of using Charles Manson, a California based criminal,
Lee urbanizes the story to the city of his existence,
NYC, as is his wont, and utilizes the story/myth of
David Berkowitz, the "Son of Sam" killer, as his motif.
It is important too that Berkowitz's maniacal explanations
of his crimes contained references to religion and spirituality.
In exploring the theme of man's basic drives and turning
the narrative to sexuality, Lee uses homosexuality in
a somewhat negative way but his intent is to show man's
struggle to return to a primal state sexually. The act
of sex here, whether hetero or homosexual, is shown
to be a complex experience where man must become savage,
a beast, to achieve orgasm/nirvana. If he capitulates
to his spiritual side and acts as husband/father/lover
he is not able to obtain an orgasm, a release. Lee's
characters feel both enlightenment and depravity through
homosexual sex or, with women, sodomy. But the men never
conquer their human inadequacies or come to accept themselves
through these vices. Like drugs and violence, the sex
in the film only leaves hollowness and emptiness. Even
the character who seems to have the most guilt-free
acceptance of his sexuality comes, like the disciple
Peter, to deny his knowledge of the existence of his
"deviant" sexuality when society (in the form of his
friend) questions him about it. Man's inability to express
himself spiritually, at his most primal nature, whether
through sex, drugs, or violence, is captured perfectly
by Lee in his story here. The main reason these vices
fail is either that they simply destroy, rather than
purify (as with drugs) or they are perceived as unacceptable
by other men, such as with homosexuality, deviant sexuality
or violence.
While showing the inherent problems with man's exploration
of sex, violence and drugs as a way to achieve enlightenment,
Lee seems to suggest our truest expression of our most
primal and basic nature can come through music. 70's
disco and pop music permeate much of the film, not only
to give it a period feel, but also to show us how it
is the music, even the most banal of it, that is the
closest acceptable way man can come to grips with his
primal needs. This is also achieved though dancing in
an early scene, an offshoot of this expression of music.
Here, while articulating himself through music and dance,
man is powerful and beastial, able to come to terms
with his own basic needs in a pure yet enlightened way.
In fact, the most joyous moment of the film comes when
a punk band plays live on stage at the historic CBGB's,
birthplace of punk rock. It is a moment of pure spiritual
liberation. Here we come to see that the punk lifestyle,
something that many felt was much more dangerous than
sex or drugs in the 70's, is actually the more pure
form of primordial expression to be found in American
society and therefore, should be the most acceptable.
It is a truly beautiful and freeing moment in the
film.
And Lee furthers this notion in the film, of music as
holy emancipation, with his use of the classic Who anthems,
"Baba O'Riely" and "Won't Get Fooled Again" (both,
surprisingly, contained on the fantastic "Who's Next"
album) as the soundtrack for the most important segments
in the film. While "Baba O'Riely" is also used
to present this theme of the freeing nature of music,
the segment also propels the plot and character development
of the film. During this segment mid-film, we see one
of the homosexual characters (or at least bi-sexual)
exploring not only his sexuality and exhibitionism,
but also the violent nature of this sexuality. It is
both liberating and disturbing at the same time, the
very feeling Lee is trying to explore in his film. This
idea that our most basic instincts may free us momentarily
but in their wake we are left confused, guilt-ridden,
ashamed and in denial is perfectly presented here. Meanwhile,
the finale of the film, where the violence and vigilantism
builds to a fever pitch, is set to the exuberant vibrato
of "Won't Get Fooled Again." Here Lee uses the Who's
music to underscore the tumultuous climax of his film.
The bold (and basic) beauty of the song coupled with
the troubling images Lee presents makes us both share
in the exhilaration presented as well as decry it. We
are given gooseflesh at the remarkable moments Lee is
able to capture here and yet disturbed by it as well.
Much like the rush of drugs or an orgasm, the climax
(the high) both titillates and destroys us, leaves us
guilty and ashamed, amazed, disturbed, saddened and
hollow.
Lee's film is a moment of brilliance in a summer of
disappointing studio product. This is not only due to
his wonderful ability to tell a multidimensional story
in the language of cinema but also in his competency
in casting the perfect actors to people his film. John
Leguizamo, Adrian Brophy and Mira Sorvino are adept
actors who use their peerless talent to bring Lee's
textured tale to light. Brophy, more than any other
actor here, takes on a challenging role and makes it
full proving he is more than just a Robert DeNiro/Travis
Bickle clone (as "Taxi Driver" is surely a small and
unnamed influence on the film) who was cast for his
appearance rather than his talent.
Lee does
take a few missteps here. He unwisely casts himself
as a news reporter in some of the most unnecessary
footage in the film. He also flavors the film with scenes
of Berkowitz, in his fly infested hovel, wrestling with
his demons. While this may be necessary to the color
of the film's theme and plot, the acting in these moments
is seriously flawed and overly dramatic. The worst comes
when a dog actually speaks to Berkowitz, through computer
generated animation. While Berkowitz did claim dogs
spoke to him, it is not necessary to show that so literally
here. Many younger people in the audience with me laughed
at this segment not understanding it's factual relationship
to the story. Still, these are minor points that barely
distract from the overall wonderment of the piece.
"Summer of Sam" is nothing less that a cinematic masterpiece.
Spike Lee again continues to prove he is one of America's
finest filmmakers, here taking on late 20th century
America's inherent prejudices (not only racial but societal),
our fanaticism, our cult of personality. Using our American
heritage of the late 20th century which makes rock stars
out of garage bands and serial killers, Lee explores
our very primal and basic need to search our own hollow
existence, our own bottomless pit of vile self-hatred
and the meaninglessness of life, to come to terms with
our most base instincts. In the end, the hero is left
seemingly alone, abused, beaten, bloodied and angry;
In the end, it is only the serial killer who achieves
the orgasm of celebrity, the twisted vision of the proverbial
"American Dream," while the punk rocker, a poser, begins
to truly glean the undistorted emptiness of life, the
sadistic sadness of our culture which is unable to achieve
true happiness or allow others the freedom to achieve
it.
Note: Also
with Ben Gazarra, Michael Badalucco, Patti LuPone.
Media personality Jimmy Breslin of NYC, who recieved
letters from Son of Sam in the 70's, opens and closes
the film on camera.
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