REVIEW: SOUTH OF HEAVEN (2008)
Upon completion of J.L. Vara’s “comedy-crime” feature that was an Official Selection at the Toronto After Dark Film Festival, the Fantastic Fest, and Cinevegas of 2008, I had no idea whatsoever to say about the film and its bizarre style, set designs, and off-beat performances but that I was pretty sure I really enjoyed the film. I kind of had the same feeling and thoughts in my head after having completed a David Lynch film, but one that pays homage to so many other films of past (possibly a Coen Bros. film with how the film was shot?): I am not sure I grasped or understood exactly what each scene was about or its purpose in the film the first time aound-but the scenes were shot elegantly, beautifully, and with a very distinct style all of its own. The film was classified in my head as somewhat of an art film, which told a simple yet complex story of revenge. I feel that the complexity of the film was due to the fact that scenes were not fully explained as the plot began to unfold. If one is distracted and either glances away from the screen or drifts off and loses focus while watching SOUTH OF HEAVEN, one may suddenly stop and roar,
“What the fuck is going on? I didn’t pay attention for a minute or two and now the current scene is making absolutely zero sense!”
Suffice to say, that was my reaction when my A.D.D. tendencies took over and I started to look up some facts about the movie and its director on IMDb. This is a film whose beauty will be lost, as well as crucial plot points if one’s brains start to think of other ideas and thoughts. Yes, the aforementioned reaction is what happened to me, forcing me to rewind a bit and direct all of my attention to the film.
Elina Lowensohn
When it all comes down to it, SOUTH OF HEAVEN is a movie about a psycho. Mad Dog Mantee (Shea Whigham) who kidnaps a girl, Becky (whom we never actually see), who is Mr. Bobo’s daughter, with Dale Coop (Aaron Nee). Dale’s brother, Roy (Adam Nee), has been away at sea while in the Navy and just got a letter from Dale telling him that he ran into a great amount of luck and to hurry up and write his million-dollar story so the two brothers can be rich and live a lavish lifestyle of the rich and famous. That scenario is just about the brightest portion and sequence of the whole film and viewers learn all of this via a cute animated cartoonish intro reminiscent of cartoonist Tex Avery and his style. In fact, the cartoon intro really sets the tone for the rest of the film because it really does have a cartoonish look and feel to it, coupled with a film noir look.
Then enter the two cartoon-character tough-guys, portrayed by Jon Gries (Napoleon Dynamite) and Thomas Jay Ryan (Eternal Sunshine of the Spotless Mind), who believe that Roy is his brother Dale and the two believe Roy to have kidnapped a certain Becky Barnes. They then proceed to beat the living hell out of him (most of which is artfully filmed with a bit of class, cutting away from the violence and showing the beatdown through shadows given off from the lighting. I thought the manner in which cinematographer Darren Genet shot this scene, as well as many of the others was magnificent. At times, because of the simple set designs and lack of outdoor shots (ANY) and all of the filming done on sets, it had the look of an elaborate stage play. I mean that in a good way, though.
The film bounces back and forth between Roy getting his ass kicked by two very well-spoken and very classy dressed tough guys. When Roy is not getting his ass kicked, a sexy yet mysterious brunette who just happens to show up and cater to his needs and wants (like sleeping with him). Since Dale left his brother a type-writer, the aspiring writer can work on his million dollar novel. The story tends to just show how messed up Mad Dog Mantee (Whigham) is, through acts of sadism and rape towards the women they encounter and kidnap. Oh, I might add that Mantee generally slaughters everyone they come in contact with except the women he decides to keep around as his “pets” and sexual “playthings”.
As Roy gets his face beaten in by punches and kicks, his fingers chopped off one-by-one (as were Becky’s fingers so they could be mailed to Mr. Bobo for their ransom plot), and even having his face burnt to a crisp, one gets a feeling, or at least hopes, that an act of revenge will be inflicted at some point in this film’s bleak portrayal of mistaken identity. One brother’s bad decision making and choice of friends is causing the other brother an insurmountable amount of grief, aggravation, and ultimately— great amounts of pain.
Jon Gries and Thomas Jay Ryan as the Hoods
If the arty shots, unique and colorful set designs (some with just a painted backdrop), and well-executed performances were not enough to win viewers over, then the original music by Russ Howard III (Hobo with a Shotgun) sure will. I was thoroughly won over by the riveting soundtrack, with its use of violins, pianos, and other elegant instruments. The music added a certain amount of class and elegance to the whole affair.
When the mysterious and beautiful chesty, brunette Veronica shows up (portrayed by Elina Lowensohn of Schindler’s List fame) with her very thick accent and very European looks. She comes and goes, always there right before Roy gets his ass kicked, or immediately following it within a few hours. I found it odd that she just shows up and Roy does not really question why she is there and accepts her weak explanation, but maybe because she is mothering him, pampering him, and screwing him he just does not give a shit.
We learn that Veronica knows alot more about what is going on and the plot gets even thicker, and the pieces start falling into place. At the root of the story, it is a movie about a kidnapping and ransom. It just is a little bit more bizarre than most films about this subject matter. At one point in the movie, there is even a cameo from wrestling great George “The Animal” Steele, as the Manton. The movie takes a turn for the better when the victim of the film starts to taking charge of the situation, giving an almost super-hero quality to his once-spineless character. This part of the film was what one me over, as well as the level of violence and the overall strange tone and pacing of the film. The film is worth a watch either way, and how could one not have their interest piqued by a film with the title SOUTH OF HEAVEN, the title coming from a small town in Texas.
This is J.L. Vara’s (or Jonathan Vara’s) first full-length feature, and aside from a few short films (which are also included on the Synapse release of SOUTH OF HEAVEN), I believe he did a very fine job. SOUTH OF HEAVEN captures the violence and grittiness of an unconventional Western of sorts with very unique characters and a certain level of mystery shrouding each. The reason the characters in the film work so well is his choice of actors and actresses. There are so many deep, dialogue-driven scenes between characters, such as Jay Whigham’s who really gives a standout performance, as well as Elina Lowensohn. I think I really loved Lowensohn’s heavy accent and choice of wardrobe (Unfortunately the film contains only a brief scene nudity (including full frontal nudity and bush!) and it is not Lowensohn because she would be a fine addition to the nude scene!)
As well as The Short Films of J.L. Vara: Miserable Orphan, Azole Dkmuntch, and A Boy and his Fetus, there are also three audio commentary tracks featuring director Vara, star Shea Whigham (Splinter, Blood Creek) and other cast/crew, and a critic’s commentary featuring Todd Brown (Twitchfilm.com), Scott Weinberg (Rottentomatoes.com), and Devin Faraci CHUD.com). The commentary is extremely informative, sheds great amounts of light as to why the fimmakers filmed certain scenes in a certain way, as well as explaining what certain scenes meant. There was a lot of effort and focus directed to the whole look of the film, with its very solid and distinct colors, as well as the cool costumes worn by cast members. Although I did notice how the three of them referred to actress Elina Lowensohn (who portrays Veronica) as actress Lena Hill (who plays Lulu), but it may be due to the fact that Lowensohn has a nice rack on her and she shows plenty of cleavage with the dress she is wearing. Apparently their notes were incorrect.
I feel that SOUTH OF HEAVEN will get better with each and every viewing, a film that may be overlooked for its genius and ingenuity. In its essence, South of Heaven is a crime drama with a great deal of artistic thought put into it that has a wonderful soundtrack, superb casting and cinematography, and a bizarre style all its own. Just don’t be distracted as I was the first time and pay attention to all the lovely details that were thrown into the film—they give the movie its charm.
