The Beaver Trilogy

If you are a Crispin Glover fan, you must see this. If you are a Sean Penn fan, you must see this. If you are a movie fan in general, you must see this. If you have no idea who Crispin Glover is and you have no idea who Sean Penn is, this film will probably still have a lot of value, but the more work you've previously seen by Crispin or Sean, the better.

This movie is so funny, but it is also pure genius. There is nothing that I know of that resembles this film. It is its own genre. I doubt that anything like it will ever be made again. I cannot say anything more about exactly why without partially spoiling it, and some of the other reviews here have already done a good job at doing that.

In response to any of the reviewers here that gave it a bad review, I ask that you view the film again. In reality, there is no point at which this film could fairly be called "boring." This is possibly the funniest, most entertaining, and least boring film ever made. And it only gets better with age and repeated viewings. A timeless classic that, unfortunately, very few will be able to claim to have seen.

Beaver Trilogy is the brilliant work of director Trent Harris, also responsible for the amazing Rubin and Ed, which Crispin Glover also stars in.

Unfortunately, copies of this film are rare and hard to find. I managed to find a VHS version after some diligent searching though, and there are a couple of ways to find it that I know of. But I really wish someone would put this onto a DVD.

I became interested in Trent Harris' work because of my interest in Crispin Glover, so I managed to get ahold of a copy of The Beaver Trilogy thinking that even if the film itself wasn't any good, at least it would have Crispin dressed as Olivia Newton-John.

And I was happy to find that the film as a whole was so awesome and stands on its own. Though I can see where some people with small attention spans and/or a complete lack of taste might have a problem sitting through its more quiet moments at the beginning, I find that the mark of a person with respectable taste can be found in their capacity to enjoy Trent Harris films.

This collection also makes a wonderful companion film to Rubin and Ed. Trent Harris is a great filmmaker who is completely underappreciated. I love The Beaver Trilogy.

Yes, this gets the full ten stars. It's plain as day that this fill is genius. The universe sent Trent Harris a young, wonderfully strange man one day and Harris caught him on tape, in all that true misfit glory that you just can't fake. Too bad it ended in tragedy for the young man, if only an alternate ending could be written for that fellow's story. The other two steps in the trilogy do retell the story, with Sean Penn and Crispin Glover in the roles of the young men, respectively. The world is expanded upon and the strangeness is contextualized by the retelling, giving us a broader glimpse into growing up weird in vanilla America. Recommended for anyone and everyone!

This movie is amazing for several reasons. Harris takes an extremely awkward documentary and turns it into a relevant social commentary. Groovin' Gary is a small-town kid who is (assumed) well-liked for his many impersonations. When he decides to play Olivia Newton John in a local talent show (for whom he is very passionate), Gary's actions show that he is at odds with the conservative social environment in which he lives. This results in him making various justifications for his actions so that people will not think that he is in fact a transvestite or other such social outcast. In the second installment, Harris exploites the struggle between Gary and Beaver in a novice attempt to make a narrative out of the original documentary. The third and final installment to the trilogy is truly amazing for Harris' extreme sensitivity with the subject. Unlike the second installment, "The Orkly Kid" shows Gary as a truly troubled character. He struggles to gain acceptance within his own community to no avail. His secret passion for dressing like Olivia Newton John distances him even further from the people that already consider him a social outcast. The movie is depicted so realistically that, like reality, it lends itself to many reactions. Surely, one can see Gary as a ridiculously pathetic character, but may also identify with him as an outcast.

There has never been anything like it, that's for sure. This episodic, seemingly redundant trilogy only really makes sense taken as a whole, and as such it is not a movie about Groovin' Gary, Utah cross-dressing sensation. It is very self-consciously a film about how the filmmaker REACTS to Groovin' Gary. For Harris the entire project is clearly an extended and spectacular contortion of guilt and repentance. He's trying to atone for his sins - yes, Gary did attempt suicide after the initial doc was aired - through correction, commentary, and convention, reclaiming such Hollywood-narrative standbys as the best friend and the defiant happy ending (two different ones, with a telling adjustment in the Glover version) and turning them to his own very personal uses. So while thematically it remains a movie about gender and difference, the structure ensures that it is also a movie about MOVIES - but on an almost unprecedented level of complexity. There is just so much going on; in telling and re-telling this story Harris is in the right place at the right time three times in a row, and he doesn't miss the opportunity to make something of it. Immensely moving, and as profound as camp ever gets.