El hijo de Mudge

I got to give this film a chance. There's a story told, and it is very strong, I know. It could be seen as gay, stupid, mean. Yes, the movie is extremely mean and that makes it difficult to watch. You have this quiet, interesting kid, and then all the jerks; hanging out drinking beer, having sex. These are the type of relationships Duncan (Emile Hirsch) had never thought about until they arrived.

The movie makes a great job in narrating the two sides of the story. Duncan's mom died; the boy is living with his cold, severe father, Edgar (Richard Jenkins). Duncan remains unnoticed all the time; he spends the hours by himself. Sometimes he rides his bicycle, just to get out a little bit, or plays with his chicken. This chicken, together with many of the things (a sweater, a lamp) Duncan has, belonged to his mother: "It was her favorite", he says later when a girl asks about it. Edgar, otherwise, is hiding his pain, but why? He loved his wife but now has a boy to take care of. Maybe Edgar is scared to see Duncan suffering because of his wife's death. Maybe Edgar doesn't even want to take care about Duncan, although he seems to be doing an effort. When they both sat at the table for dinner (prepared by Duncan), the boy asks his father about his day: "It was fine", Edgar answers. Then Duncan asks about the food: "Ok", his father says. After this, Duncan starts talking to himself, asking questions about his day, just because his father hasn't asked him about it. This is the relationship they handle. Eventually, Duncan will start working for his father: "You're strong boy", Edgar says. But is he? The other side shows to us the relationship Duncan creates with the other boys, the ones I couldn't call friends, and the problems he has with them. He wants to get along, we can see. Even more when he meets Perry (Tom Guiry), and starts buying beer and going out at night with elder people. His father is being good about it because he knows that Duncan could use some friendship. But then Duncan is stealing alcohol from his father for them. They all go to a party, and some people start to bother Duncan: "Chicken boy, chicken boy". Perry gets angry and punches them. Duncan can't believe it. He likes Perry, they are probably friends, but does he like Perry in another way? Is Duncan gay? Is this a question we should ask to ourselves? Probably, because Duncan and Perry experience things together. You could know Perry wanted to do it, to try something different, or to teach some sex lessons to Duncan; the boy with no experience (touching his own nipples in his bed). All of these could be.

Emile Hirsch is a very good actor. I have seen him in all of his movies, except for "Imaginary Heroes". He trapped me in "The Emperor's Club" and in "The girl Next Door". Great acting jobs, in not great movies. Here he is just great (again), with all of his weird faces. He is weird; also calm and gentle. Many things. Richard Jenkins is superb, in showing what I named "silent emotion". Very interesting how a man can feel very much, but say very little. Tom Guiry is the one that steals the show in the end. He is brave and risky, as no other young actor. He says his lines so strongly that they get to you, just as in "Mystic River".

And of course, we can't forget the creator of the whole project; because this is an indie gem. Michael Burke wrote a beautiful and real script. He directed his actors so naturally that everything seemed perfect. His editor also did a hell of a job putting all those still shots together. Very good film-making (I love still shots).

When the film ends, we could feel like there is something missing, something unsolved. But anyway: is there anything else to solve?

This film has given me the inspiration to find a writer and help me to find a way to tell a story that is so similar,that story being my life. I felt every emotion, I felt the pain and the heartache of doing anything to fit in. But my life went further starting at a very young age. I too did things with males relatives, had things done to me by neighbor boys, friends of the family, and strangers; just to be told this didn't happen, and if anyone finds out you will pay. There is so much to tell, and I am today so glad that for the first time I can look on the screen and see that there are others that have felt the loneliness, the rejection, the confusion, and the guilt, that a young boy had to endure just to fit in. Duncan isn't the only so called "freak" or "weirdo". Just to feel Duncan again I will see "MUDGE BOY" again tomorrow.

Thank you to Mr Burke for finally being so bold, all my life I sat in dark cinemas looking for that one film that would let me know I wasn't alone, these things happened to others too. Thank you again for this great piece of cinema.

This is a remake of the short film Fishbelly White by Michael Burke (1998). The plot line and characters are all the same, but the story is fleshed out in The Mudge Boy.

In Fishbelly White, Duncan's character is more homo-erotic; the under-the-track-scene is more deliberate and graphic and explains much of what is left out of The Mudge Boy. In Fishbelly White, Duncan bites the head off his favorite chicken during the pick-up scene with the drunken youths and the rape scene never occurs.

The two films make for an interesting comparison of the two director's visions.

It's always difficult to watch a film where we know more about the protagonist than he (or she) knows about himself. That's the case here: it's obvious to us viewers from fairly early on that Duncan Mudge has some significant homoerotic attractions. When he would turn out to be "gay" or not when his adolescence is over we don't know, and it's really irrelevant (except that he seems a little on the old side for still being in that sexually indeterminate stage). What we are asked to deal with is a sensitive young man in a particularly insensitive corner of a culture that is becoming more and more callous to the inner lives of young people by the day. We're not told exactly when the action takes place, but we have to assume it's pre-Internet; otherwise we'd fault the character for not reaching out that way. In any case, Emile Hirsch does a fine job with a difficult role, and leaves us wounded on his behalf, but not without hope that the whole experience will in the long run have made him, and perhaps us as well, a better human being.

The Mudge Boy represents some of the finest cinema to come out of Sundance in 2003. The story moves at a leisurely pace but excels in character development and dialogue. Burke revels in his setting- a rural, emotional wasteland painted with eerily quiet, majestic landscapes which idly conflict with the title character's introversion and despair. Emile Hirsch affects a delicately nuanced, charismatic performance as the title character, struggling with the death of his beloved mother. Richard Jenkins demands every speck of attention possible while he's on screen; it's a pure delight to watch this fine actor work. I usually don't pick out smaller performances, but Zachary Knighton as the chief bully's "sidekick," Travis, is superbly threatening and commands the screen, as well. His performance is staggeringly three-dimensional and defies every cliche of "teenage bully" portrayals ever committed to celluloid. There's a big future for this guy. Overall, this film deserves to be seen by anyone who appreciates uncliched, moving drama filled with wonderful performances.