There’s a lot of talent, both in front and behind the
camera, in Richard Kelly’s visionary directorial debut. Emanuel Levy said in
his review, “Defying easy categorization, the film is part sci-fi, part
fantasy-horror, part drama, and part satire of life in a typical American burb
circa 1988. A strong central turn by Jake Gyllenhaal is a major plus, not only
in unifying the fractured narrative but also in providing an emotional hook for
viewers’ engagement in what’s an admittedly demanding movie. An entrepreneurial
company should release this unusually original indie that holds special appeal
not so much for teenagers as for the twentysomething and thirtysomething crowds
who’re willing to go down memory lane and revisit their tumultuous highschool
days.”
The story is based on an apocalyptic saying – “the
world is coming to an end” – personified in the film by Frank, a six-foot
horror rabbit (James Duval) that can only be seen by Donnie, (Jake Gyllenhaal)
a perfect, all-American teenager, who is very smart, bored wisdom, and vivid
imagination. Levy said, “Like Jeffrey, the young protagonist of David Lynch’s
Blue Velvet, Donnie is about to discover a macabre underworld of dark secrets
lurking behind the veneer of placid suburbia where he lives with his parents
(Holmes Osborne and Mary McDonnell) and two younger sisters (Maggie Gyllenhaal
and Daveigh Chase).”
An interesting beginning shows the fall of a huge jet
engine on the roof of Donnie’s house, where Donnie is told by Frank that he’s
destined for a unique reason in his life. Offering only a few prophetic clues,
Frank promises a future relationship and, indeed, begins to make calls on
Donnie and haunt him not only at night but also during the day.
Much easier and more available is the principal,
classic American coming-of-age story that includes all the genre’s usual
suspects: Levy mentioned, “an open-minded English teacher (Drew Barrymore)
whose liberal reading list is attacked by conservative and caricaturistic teachers,
a wise physics teacher (Noah Wyle) through whom Donnie discovers that none of
the bizarre incidents happens randomly, a colorful gallery of classmates, and
so on.” Like most youth movies, there’s also romantic desire, here between Donnie
and a new student named Gretchen, played by Jena Malone, who, like him, is an
outsider with a family problem. High school scenes, a genuine catalogue of all
the awkward rituals of passage, are often hilarious, and is the appearance of
New Age guru Jim Cunningham, played by Patrick Swayze, who’s hired to heal the
children’s self-esteem, but predictably turns out to be a fake and a pervert.
Levy pointed out, “Audiences at Sundance were confused
by the narrative structure, and felt disoriented as a result of the rapid
changes in tone, from the real to the surreal and from one time-frame to
another. Part of the puzzlement derived from the fact that, unlike most school
flicks, Donnie Darko is not just about getting laid. In its metaphysical concerns
with the inner workings of the universe, and challenging notions about
time-travel, the film aims higher than most pictures of its kind.”
Levy continued, “Indeed, while the film’s arduous
scope and helmer’s imagination are commendable, the execution and ultimate
result are not.” With all the admiration for the elaborate special effects,
they’re often excessive, distractive attention from what’s already a
complicated story line, and the different subplots don’t always add up to a clear
whole. Even so, whatever faults critics may find with unfolding of the plot and
its ending, there’s no doubt that beginner director Kelly (a USC grad) shows
command of film’s technical properties (lensing and production design are
accomplished) and is also wonderful with his huge ensemble. Levy ended his
review by saying, “Holding the entire picture together is an enormously
appealing performance by Gyllenhaal, whose physique and acting recall the young
Tobey Maguire. The other roles are small but succinctly drawn, from Barrymore
to McDonnell to Wyle to Katharine Ross, who plays Donnie’s shrink.”
This is a movie that has to be seen to be believed. It
is a very good movie and I recommend everyone to see it. Yes, this is very much
a confusing film that goes back and forth with things, but that’s what makes it
so engaging. Very much like “Inception.” This is currently streaming on a lot
of places (Tubi, Pluto TV, Roku, Amazon, Hulu, Disney+, Netflix, PLEX, Peacock,
Philo, CW) so you have your options of where you want to watch it.
Next week, we will be looking at the superfluous
sequel that is so bad in “Halloween Month 2025.”
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