Remember that Christian Slater already did a film about an alienated guy in a small town who alleviates his anomie by narrating his streams of consciousness. It was called "Pump Up The Volume." Only in that film, he spoke on a Ham Radio show, rather than into a cheap tape recorder.
I enjoyed this film. Let's get certain things out of the way first. Yes, the characters, while funny, quirky, and interesting, were over-baked and unrealistic. Yes, to a degree, it showed a condescending portrayal of small town folk, and yes, it portrayed a clergy person who was all too happy to admit that he had not faith, thus keeping in step with the Hollywood view of religion.
The most confusing scene to me, by far, was when he makes a sincere religious blonde strip for him, after she tells him that she will do anything to comfort him. Another reviewer said that he did this to humiliate her and highlight her naivete, so that Hollywood could take another swing at religious people.
But maybe he felt he was doing it to her for her own good...to call her bluff and make her re-analyze the extent of her convictions. Or maybe he was just horny, and he liked the power surge that she offered him at that moment...the idea that she was his slave.
I don't know why he stood back-to-back with her, unless that was some kind of symbolic bonding mechanism or his way of showing that he was just as confused and lost as her..that he was her mirror image.
Having said all that, the dialogue and delivery were excellent, and Slater's facial expressions were priceless.
One clarification..The main character did NOT come to town to kill himself. (Unless you want to go out on a limb and say that maybe he really did.)He just wanted to get the people off his back and alleviate their fear that he came to town to kill them.
The movie was an example of "existential" French philosophy. It was also a commentary on the vastness of America, and how that can affect some people. This guy was "a nowhere man." All his life he had simply blended into the framework of mid-sized city life, without any distinction. He had no special skills or attributes. But the one thing he could call his own, was his longing for something better.
His age, 30, was significant. That's when you first realize that your youth is over forever, and you look into the future as either a glass half full or a glass half empty. No doubt, turning 30 is part of what made him quit his job and head for the sea.
There are numerous references in dialogue, to the fleeting nature of life, and to the idea that many people are living lives of quiet desperation. This proposed the idea that our lack of time should motivate us to act on our dreams, or that we all live with the illusion that we are never going to die. There is always tomorrow.
The film managed to squeeze in a gay guy, some black folks, some minor sex, kids, religion, deafness, and hunting.
Another reviewer also mentioned that the film moved at the pace of life. (Or at least in a small town) I like that. It's true. In real life, we have many boring, uneventful moments when we are just sitting in a room, or walking.
Most movies have so much background music going, that you don't notice these moments, or the music romanticizes them. In Julian Po the music is subtle and non-existent at times, so we get a real sense of how boring certain moments in life can be. (Him pacing in his room) If you can suspend belief with regard to certain unrealistic plot devices, like a lack of ways of getting out of the town and a hotel with no guests, and you are the type who can relax and appreciate dialogue, check this one out.
I enjoyed this film. Let's get certain things out of the way first. Yes, the characters, while funny, quirky, and interesting, were over-baked and unrealistic. Yes, to a degree, it showed a condescending portrayal of small town folk, and yes, it portrayed a clergy person who was all too happy to admit that he had not faith, thus keeping in step with the Hollywood view of religion.
The most confusing scene to me, by far, was when he makes a sincere religious blonde strip for him, after she tells him that she will do anything to comfort him. Another reviewer said that he did this to humiliate her and highlight her naivete, so that Hollywood could take another swing at religious people.
But maybe he felt he was doing it to her for her own good...to call her bluff and make her re-analyze the extent of her convictions. Or maybe he was just horny, and he liked the power surge that she offered him at that moment...the idea that she was his slave.
I don't know why he stood back-to-back with her, unless that was some kind of symbolic bonding mechanism or his way of showing that he was just as confused and lost as her..that he was her mirror image.
Having said all that, the dialogue and delivery were excellent, and Slater's facial expressions were priceless.
One clarification..The main character did NOT come to town to kill himself. (Unless you want to go out on a limb and say that maybe he really did.)He just wanted to get the people off his back and alleviate their fear that he came to town to kill them.
The movie was an example of "existential" French philosophy. It was also a commentary on the vastness of America, and how that can affect some people. This guy was "a nowhere man." All his life he had simply blended into the framework of mid-sized city life, without any distinction. He had no special skills or attributes. But the one thing he could call his own, was his longing for something better.
His age, 30, was significant. That's when you first realize that your youth is over forever, and you look into the future as either a glass half full or a glass half empty. No doubt, turning 30 is part of what made him quit his job and head for the sea.
There are numerous references in dialogue, to the fleeting nature of life, and to the idea that many people are living lives of quiet desperation. This proposed the idea that our lack of time should motivate us to act on our dreams, or that we all live with the illusion that we are never going to die. There is always tomorrow.
The film managed to squeeze in a gay guy, some black folks, some minor sex, kids, religion, deafness, and hunting.
Another reviewer also mentioned that the film moved at the pace of life. (Or at least in a small town) I like that. It's true. In real life, we have many boring, uneventful moments when we are just sitting in a room, or walking.
Most movies have so much background music going, that you don't notice these moments, or the music romanticizes them. In Julian Po the music is subtle and non-existent at times, so we get a real sense of how boring certain moments in life can be. (Him pacing in his room) If you can suspend belief with regard to certain unrealistic plot devices, like a lack of ways of getting out of the town and a hotel with no guests, and you are the type who can relax and appreciate dialogue, check this one out.