Guggenheim's second feature, after almost a decade spent in TV drama, is a taut thriller based on a savage theorem: that the 'pleasure of gossip' is gained by gauging its effects, no matter how cruel and unexpected the results.
There are several things to criticise about 'Gossip': James Masden (who at times looks something like a young Tom Cruise) is perhaps too lightweight and insubstantial to project the confusion and cunning his role demands. And, even though explained away by an alleged substantial allowance, his apartment is perhaps too glitzy and fashionable for a college student. The thesis that Webb, Jones and Travis cook up together is too vague and spontaneous to be of practical use for study purposes. The debate over the rape and murder charges are unlikely to be used for teaching purposes as Professor Goodwin permits, the finale is far too elaborate to be convincing, and so on.
But there is also much to enjoy here: not least of which is a plot which, until the final few minutes brings the prerequisite closure that American audiences seem to crave, is clever, unpredictable and thought provoking. Guggenheim can claim Michael Lehmann's now classic 'Heathers' (1989) as
one inspiration for 'Gossip'. Kate's introductory remarks'I'm a girl with a problem. I know better, but I have got myself in a very tempting situation'recalls Veronica's infatuation and self-analysis in the earlier film. Webb's mysterious charm can be compared to that of Jason Dean's, while both films share a college ethos, a sense of practical jokes spinning mercilessly out of control - a plot momentum that is only stopped with an unsatisfying ending. The slickness of 'Gossip' betrays its more recent provenance, and one is left feeling that a grittier, more documentary approach might have suited its subject more, particularly as it lacks Lehmann's ironic intensity. Fortunately the direction of Guggenheim's film is right on the button and sweeps matters along so that, for most of the time it doesn't matter that some sharpness is lost.
Guggenheim's work within television has obviously led him to make some observations on the effects of the mass media. Such reflections are articulated most clearly by the McLuhanite Professor Goodwin, whose lectures bring most of the principals together, or are expressed in more practical terms by Travis. A shambling and reclusive figure, in many ways he is the most interesting character in the film and one wishes that his role had been expanded to articulate more of this obsessions. His enlargements and manipulations of Naomi's image in his TV den speak volumes about intrusion into personal space and it is entirely apposite that Webb's downfall should be captured on a monitor.
At the heart of 'Gossip' are many such intrusions. Specifically, the rapes, allegations of rape, and confession of rape, each echoing one another, driving the plot. Webb's earlier encounter with Naomi, his struggle with her on the bed during which she scratches his cheek, his uncertain sexual coupling with Jones, Noami's allegations concerning Beau all these are linked by allegation and gossip. Significantly, the same line is uttered by Naomi to Beau, as she asks him to explain himself, as when Jones interrogates Webb about his role in matters: 'that's not an answer'. There is, of course, no real effective 'answer' to rumour. It is always a wayward invention of reality which, as Travis knows, just needs to be 'good, simple, and with room to grow'. As his name suggests, Webb can 'spin' a yarn, catch people by their credulity and it will run its course, as for the most part people are content to go along with it and enjoy it.
Spoiler ahead!
Interestingly, the 'pilgrimatic' Jones (a reference to her perceived decency throughout), confirms the pervasive nature of rumour, when she contrives the scenario that forces Webb's confession. The 'death' of Naomi is conveyed to Webb third hand and 'confirmed' by the word of others. It is of course still only rumour, but under semblance of a reliable report. Fittingly, Webb is completely taken in when his own weapon is used against him. By the end of the film, as she admit, Jones has acquired, albeit in a good cause, guile and deceiving skills of her own. Her own satisfaction at her use of methods she had previously condemned, may be tempered by sadness. But the audiences' pleasure in following through the train of events that unfold, and realising that it was all fabricated, only emphasises the truth of Webb's exercise.
There are several things to criticise about 'Gossip': James Masden (who at times looks something like a young Tom Cruise) is perhaps too lightweight and insubstantial to project the confusion and cunning his role demands. And, even though explained away by an alleged substantial allowance, his apartment is perhaps too glitzy and fashionable for a college student. The thesis that Webb, Jones and Travis cook up together is too vague and spontaneous to be of practical use for study purposes. The debate over the rape and murder charges are unlikely to be used for teaching purposes as Professor Goodwin permits, the finale is far too elaborate to be convincing, and so on.
But there is also much to enjoy here: not least of which is a plot which, until the final few minutes brings the prerequisite closure that American audiences seem to crave, is clever, unpredictable and thought provoking. Guggenheim can claim Michael Lehmann's now classic 'Heathers' (1989) as
one inspiration for 'Gossip'. Kate's introductory remarks'I'm a girl with a problem. I know better, but I have got myself in a very tempting situation'recalls Veronica's infatuation and self-analysis in the earlier film. Webb's mysterious charm can be compared to that of Jason Dean's, while both films share a college ethos, a sense of practical jokes spinning mercilessly out of control - a plot momentum that is only stopped with an unsatisfying ending. The slickness of 'Gossip' betrays its more recent provenance, and one is left feeling that a grittier, more documentary approach might have suited its subject more, particularly as it lacks Lehmann's ironic intensity. Fortunately the direction of Guggenheim's film is right on the button and sweeps matters along so that, for most of the time it doesn't matter that some sharpness is lost.
Guggenheim's work within television has obviously led him to make some observations on the effects of the mass media. Such reflections are articulated most clearly by the McLuhanite Professor Goodwin, whose lectures bring most of the principals together, or are expressed in more practical terms by Travis. A shambling and reclusive figure, in many ways he is the most interesting character in the film and one wishes that his role had been expanded to articulate more of this obsessions. His enlargements and manipulations of Naomi's image in his TV den speak volumes about intrusion into personal space and it is entirely apposite that Webb's downfall should be captured on a monitor.
At the heart of 'Gossip' are many such intrusions. Specifically, the rapes, allegations of rape, and confession of rape, each echoing one another, driving the plot. Webb's earlier encounter with Naomi, his struggle with her on the bed during which she scratches his cheek, his uncertain sexual coupling with Jones, Noami's allegations concerning Beau all these are linked by allegation and gossip. Significantly, the same line is uttered by Naomi to Beau, as she asks him to explain himself, as when Jones interrogates Webb about his role in matters: 'that's not an answer'. There is, of course, no real effective 'answer' to rumour. It is always a wayward invention of reality which, as Travis knows, just needs to be 'good, simple, and with room to grow'. As his name suggests, Webb can 'spin' a yarn, catch people by their credulity and it will run its course, as for the most part people are content to go along with it and enjoy it.
Spoiler ahead!
Interestingly, the 'pilgrimatic' Jones (a reference to her perceived decency throughout), confirms the pervasive nature of rumour, when she contrives the scenario that forces Webb's confession. The 'death' of Naomi is conveyed to Webb third hand and 'confirmed' by the word of others. It is of course still only rumour, but under semblance of a reliable report. Fittingly, Webb is completely taken in when his own weapon is used against him. By the end of the film, as she admit, Jones has acquired, albeit in a good cause, guile and deceiving skills of her own. Her own satisfaction at her use of methods she had previously condemned, may be tempered by sadness. But the audiences' pleasure in following through the train of events that unfold, and realising that it was all fabricated, only emphasises the truth of Webb's exercise.