It is hard to
review a film that has been so widely criticised by the majority of film
critics: If you agree, then you run the
risk of seemingly following the pack; if you disagree then you run the risk of
being smugly contrary. It makes it even
worse when the film is written by one of your own personal literary heroes. And I've had this film on my radar for months
I’ve been a
massive fan of Bret Easton Ellis’ work for nearly 15 years. His ever-widening fictitious universe is
wonderfully complex and the experience of reading (and rereading) his
fascinating novels is incredibly rewarding due to the strange boundaries of new
each book. Characters reappear in
different books having relationships with unexpected people, and his world is
full of casual drugs and casual sex. The
dominant theme that flows throughout seems to be ironic and ambivalent
misunderstanding between friends and enemies.
The Canyons is the story of
trust-fund rich twenty-something Christian (James Deen) who is funding a movie that
his girlfriend Tara (Lindsay Lohan) is loosely involved with. The lead role in the film has been promised
to Ryan (Nolan Funk), who is dating Christian’s assistant Gina (Amanda
Brookes). We first meet the four over an
expensive looking dinner where Christian reveals that he likes to introduce
random couples (‘hook-ups’) he has found online into his and Tara’s sex
life. This seems to upset Ryan somewhat,
and we soon find out that he has been having an affair with Tara. As Christian begins to suspect the affair he
becomes increasingly paranoid towards Tara and the motivations behind producing
the movie.
The film
weaves in and out of different young film-industry-types in typical Ellis
style, with plenty of obvious satire about the prevelance of mobile phones in
modern culture and the cruelty of the acting/casting world. Schrader keeps the camera still or smoothly gliding
mostly around minimal Californian architecture.
There are very few shots of nature, unless it’s creeping over the wall
next to a private pool, and the film is mainly internal or at night with a
pulsating soundtrack from Me
& John.
The film has
an inbuilt paradox that I think led it to being hated by some critics: to grasp this film it is important to
consider the intertextuality, yet by only concentrating on this then some
viewers trapped themselves and were approaching the film the wrong way. The movie that is being made within the
narrative of The Canyons is under
strain because the lead character is miscast through favouritism.
This then
became the main criticism for The Canyons:
that Lindsay Lohan was herself miscast – this either led people to wrongly
misinterpret this as ‘a Lindsay Lohan movie’, or it led to criticism from
people who thought it was cynical timing to cast her in a racy role whilst she
still had the tabloids chasing her. The
first response is a problem with simplified typecasting and is not the fault of
the film, and the second response is a weird kind of patronising patriarchy
that insists that young women only make films when their lives are squeaky
clean for the benefit of conservative onlookers.
There is a
great postmodern line in the film where Tara asks Gina, “Do you really like
movies?” This may feel like a very
natural line for Lindsay Lohan to say – but she didn’t say it, her character
did. This is the kind of writer that
Bret Easton Ellis is, and I’m certain that he was aware of these
fan/audience/critic reactions that were going to arise.
Another reason
that the film might have misconnected with American audiences might have been
the simple reason that American Youth have moved on from stories about rich
kids from L.A. in a time of economic recession.
But this doesn’t really resonate seeing the huge reverence for people
like Kanye W and the success of The Great
Gatsby and the Iron Man
franchise.
The film is
much lighter on sex, drugs and violence from what I expected it to be
considering the creative team behind it, but as a film about the stress of
low-budget filmmaking I think it was an efficient paranoid thriller that hints
at the cynicism of Hollywood. It is such
a shame that it was so relentlessly attacked by the chirpy fresh cynicism of
happy-shiny-superhero 2013 Hollywood.
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