George Washington

Even though GEORGE WASHINGTON lacks the star power of the Reel 13 Indies of late (IMAGINARY HEROES, SUNSHINE STATE), it's still a high profile independent film. It's legendary in the industry as the first film from indie auteur David Gordon Green. It also already has its own Criterion Collection Edition on DVD, so Channel 13 can hardly claim to have made a discovery here.

As disappointing as it is that Reel 13 has gone away from bringing us films that are new to us (though not that many of them were very good), you have to acknowledge that at the very least, we get an independent film that is wonderfully cinematic and well-crafted. David Gordon Green has a pretty simple formula – not a great deal of extraneous camera movement, realistic characters and scenes that are lyrically cut together with beautifully photographed landscapes. There is a certain poetry to his work that is all his own – a style that he worked to even greater impact with his follow-up film ALL THE REAL GIRLS.

As similar as the feel of GEORGE WASHINGTON is to that film, it's narrative is quite different and deals with a handful of young kids in a small, poor town somewhere in the South (Arkansas? NC?) as they deal with tragedy and the unstoppable nature of growing up. The kids, whom I suspect are all untrained actors, are all quite good, albeit playing characters that are perhaps more mature than their respective ages suggest. That aspect, along with the verisimilitude and honesty of the scenes, reminds me a lot of Peter Sollett's work. Not as much RAISING VICTOR VARGAS (which airs on Reel 13 in May) than the short it was based on – FIVE FEET HIGH AND RISING – only Green accomplishes a similar effect without a hand-held camera.

There a couple of nitpicky things that keeps GEORGE WASHINGTON from being as effective as the previously mentioned ALL THE REAL GIRLS. For starters, it's a little slow and hard to hear at times. Paul Schneider, who is outstanding in a much more significant role in REAL GIRLS, is more of a distraction here than an asset. His character, ostensibly intended for comic relief, is like a sixth toe on one foot – it doesn't stop you from walking normally, but it's really unnecessary. I also felt the voice-over was also extraneous – as if Green didn't trust us to comprehend his themes. The biggest issue I had with the film, though, is the surreal turn it takes in its last twenty minutes or so. Without giving too much away, it relates to changes in the main kid character, which are personified by a radical shift in wardrobe. While I see the overarching purpose of the choice – to explicate how the character deals with some of his misfortunes – it is a major shift in tone for the piece and stands out like a sore thumb against the quiet beauty of the rest of the film.

Still and all, beggars can't be choosers and having sat through some very questionable indie films over the last few months, GEORGE WASHINGTON is a very welcome change.

(For more information on this or any other Reel 13 film, check out their website at www.reel13.org)

This movie is more likely to be admired than actually liked. The acting is pretty darn bad and the story is borderline ridiculous, but what holds this movie together is the beautiful cinematography. This film is in the same vain as Gummo, small town, no straight story, and lots of colorful characters. But this movie misses the mark that Gummo hit so dead on, it doesn't make you care or relate to the characters. The characterization in this movie is very insipid. Watching this movie makes you think of its failed potential. Well all in all its a "G" rated Gummo, so watch both and get back at me.

David Gordon Green's first miniscule-budget movie is strange and disconcerting, and appears to lack a real focus; but maybe that's its theme - the aimlessness and randomness of life in a poor North Carolina neighbourhood. But not from the conventional point of view that regards such lack of purpose as totally negative; but with a poetic, visionary eye that can see meaning and even beauty in things and people that appear on the surface to be mundane, derelict, pointless or absurd.

Ostensibly the film is about a group of kids, mainly black, who spend their time goofing around, as kids do, until there's a tragic accident, and then a heroic rescue, and George (Donald Holden) is at the centre of both the accident and rescue. And George is already marked out as an exceptional character, not only because he has a weak skull and has to wear a helmet, but because pretty Nasia (Candace Evanofski) has switched her affections to him from an apparently more attractive companion. The children are surrounded by, and inter-mingle with, a mixed bunch of adults, the most prominent being a group of manual workers, who alternately josh each other and make would-be serious statements. However sceptical he or she might have been initially, by the end of the film the viewer accepts that George is exceptional and possibly a potential hero; but whether the world in general will ever recognise this is more doubtful; though the movie ends on a hopeful note.

Technically, the film is fine; with great photography, striking visuals, and effective music. Nevertheless, it is hard to follow, because of its rough edges and loose ends; it is probably best regarded not as a narrative, but more as a series of vignettes. From a conventional viewpoint, much of the acting by Green's amateur cast, is "bad", reminiscent of early dramatised documentaries by, say, Robert Flaherty; but this crudity and stiltedness add to the surreal feel of the movie, and give the characters a grittiness that smooth "good" acting might not. Of all the movies I've seen lately, this is one I'd like to see again, when an opportunity arises.

After only writing a few reviews, I promised myself I would not give a film a perfect score too easily, but I cannnot resist. George Washington is truly astonishing and touching piece of cinema. Some people have called one of the best films of the new decade. This is definitely not too far from the truth. As the summary had said it is told very deceptively but we do not know the director has up his sleeve both plot wise and emotionally.

One of the best things about this film is its realism. David Gordon Green captured the essence of how kids today speak. Often we find in the usual "tween" movies that the young kids speak perfect English, always have good posture, speak with a clear voice, and have a wide vocabulary. I sound like one of my teachers. In the real world, this is not how kids actually talk and Mr. Green should be commended for bringing this to the masses.

As many people know, this film has great cinematography and the location is an area rarely seen in movies today. It even rivals Malick's. The opening scenes in particular have great cinematography. They are a hook to the viewers that enchants them to keep watching. The sub-satisfactory location is turned into a beautiful not quite urban or rural town of mystery and intrigue.

Yes, I will say it. This film is very moving. I know I will sound like a sap but it is moving in the true sense of the word. It is never overly sentimental or sappy. It feels so genuine. Few films recently have been so affecting on this level. The film has a very provocative take on redemption I like how the director used amateurs to add even more realism to the movie. The acting was pretty good, too. Stay clear if this movie if you do not have a good attention span (most reviewers are complaining about this). It is drawn out but oh so rewarding. Highly recommended.

Don't look for a simple, linear plot line or resolutions to what you think are the problems. "George Washington" is the offspring of "Gummo" and "Stand by Me", and a very distant relative to "Eraserhead" (but with a soul). The dialog is often beyond the age, character, and scope of the kids depicted (similar to "Brick"), which can be disconcerting, yet, when suspending disbelief, remained interesting. The scoring is dark and moody – and seldom lets up. On occasion, the lack of actor training can be seen in the kids, but for the most part they do a good job. The locations are full of dying and dead culture – rich, textural, beautiful crumbling Industrial Revolution. This is a ponderous, sometimes overly artful film that is none the less worth seeing and considering afterwards. It has things to say – and you're expected to use your own mind.