James Franco has established himself as quite a character actor. There was his lauded (not by me) portrayal of intrepid mountaineer Aron Ralston. He played James Dean in a T.V. film, which again widely impressed. And now, as the adverts proudly proclaim, 'He IS Allen Ginsberg', a leading figure of the 'Beat' generation and one of the 20th Century's most celebrated poets.
'Howl' could have worked as any of its sole components, but it's an exercise in – and triumph of – style. It's told in an expressive, fun way, using a quartet of interwoven stylistic modes. There's the central story of the 1957 obscenity trial, to ascertain whether Ginsberg's most famous poem, 'Howl' had any literary value. We have Ginsberg's back story in sleek monochrome. There's a reenactment of an interview he had (with a faceless interviewer). And then there's the splendid, psychedelic animation, needed to elucidate 'Howl's' arcana.
It's an art film, to be sure, but it has enough appeal for intellectuals and non-intellectuals alike. The courtroom scenes are a joy. Jeff Daniels made me laugh as a disapproving professor debating the intricacies of what can be called literature. David Strathairn and Jon Hamm as the prosecuting and defending lawyers give superb lifelike performances, which is a necessary contradiction of the other fantastical aspects.
Franco has done a marvelous job of mimicking Ginsberg's elocution. The fillers, the long pauses before snapping at the right word, the occasional maundering. A quick look on Youtube confirms that Franco has even mastered the mannerisms and the way Ginsberg declaimed his poetry. I was glad that 'Howl' was read in (I think) its entirety throughout the film; I found it a pleasure to listen to.
I resiled from poetry at school. This film, especially Franco's enthusiasm, has done something to stimulate an interest.
www.scottishreview.net
'Howl' could have worked as any of its sole components, but it's an exercise in – and triumph of – style. It's told in an expressive, fun way, using a quartet of interwoven stylistic modes. There's the central story of the 1957 obscenity trial, to ascertain whether Ginsberg's most famous poem, 'Howl' had any literary value. We have Ginsberg's back story in sleek monochrome. There's a reenactment of an interview he had (with a faceless interviewer). And then there's the splendid, psychedelic animation, needed to elucidate 'Howl's' arcana.
It's an art film, to be sure, but it has enough appeal for intellectuals and non-intellectuals alike. The courtroom scenes are a joy. Jeff Daniels made me laugh as a disapproving professor debating the intricacies of what can be called literature. David Strathairn and Jon Hamm as the prosecuting and defending lawyers give superb lifelike performances, which is a necessary contradiction of the other fantastical aspects.
Franco has done a marvelous job of mimicking Ginsberg's elocution. The fillers, the long pauses before snapping at the right word, the occasional maundering. A quick look on Youtube confirms that Franco has even mastered the mannerisms and the way Ginsberg declaimed his poetry. I was glad that 'Howl' was read in (I think) its entirety throughout the film; I found it a pleasure to listen to.
I resiled from poetry at school. This film, especially Franco's enthusiasm, has done something to stimulate an interest.
www.scottishreview.net