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Gerry Reviewed By Stephen Groenewegen Posted 06/12/03 21:23:25

"Dude, Where’s My Water?" (Worth A Look)

The 2003 Sydney Film Festival will probably provide the only chance for Sydneysiders to see Gus Van Sant’s Gerry on the wide screen it deserves. It represents a return to experimental territory for Van Sant. Less conventional than his diverting but pointless remake of Psycho, Gerry is also considerably more stimulating.Gerry is an allegorical tale about two mates, funnily enough both called Gerry (Matt Damon and Casey Affleck), wandering across an extraordinarily varied landscape. They start out in an unspecified national park, hiking in search of “the thing”. They give up quickly, arbitrarily, and then begin to realise that they’re lost.A news story about two men similarly missing in a nature reserve inspired Van Sant. He’d previously directed both actors in Good Will Hunting (along with Casey’s brother, Ben) and Damon also in Finding Forrester. Keen to collaborate again, the actors headed into the wilderness to workshop scenes together and came up with a good chunk of the dialogue. Some of which sounds like Bill and Ted’s Excellent Hiking Adventure or Dude, Where’s My Water? The director and actors share the screenwriting and editing credit. The boyish performances of Damon and Affleck contribute what humour there is to Gerry and, while not exactly transforming it into a crowd-pleaser, help make the film more accessible.For Van Sant has taken his stylistic cue from Hungarian art house director Béla Tarr, particularly his Sátántangó. Gerry is characterised by long takes, slow pans and shots that linger, disconcertingly, for considerably longer than we’re used to. Van Sant and cinematographer Harris Savides shot in California’s Death Valley and Argentina’s Valle de la Luna National Park. The landscape is awe-inspiring, and the constant shifts in scenery give the men’s trek the feel of an odyssey. They move through pale yellow fields, and from flat bush to canyons, rocky boulder-strewn hills to grassy mountains, golden deserts to barren white sands.It seems impossible that one location could encompass so many micro-environments at a single time of year, which adds to the impression that Gerry documents a metaphysical, rather than literal, journey. The film is open to wide interpretation. I thought of it as a meditation on stillness, with both characters travelling further into themselves as they probed deeper into the heart of the landscape. Paradoxically, the film is about friendship and also the survival of the fittest, but Gerry’s climactic act is so tender that it (literally) obscures its brutality. Part of the film’s joy is the fascinating sound scape – although Arvo Pärt’s hypnotic minimalist music is sure to drive you nuts eventually. Once you adjust to the pace, you’ll also probably appreciate having time to take in the beautiful imagery. Although impressive, Gerry is frankly a slog at times and there were a number of walkouts at the Festival screening I attended (it’s an especially demanding film to see late at night after a full day of work). The key problem I had was getting a fix on the tone. Damon and Affleck are relaxed and naturalistic, and we’ll follow their progress in real time for a considerable length. Then, without warning, we’ll cut ahead to late that night or the following morning. For part of the time, Gerry and Gerry react realistically to their predicament. But it’s hard not to wonder how they could have gone hiking without water, food, a compass or even sunglasses. I guess “the thing” they were seeking wasn’t to be found on no map (heavy).Gerry is a frustrating experience, but it’s also an intriguing and occasionally enchanting one.If the 50th Sydney Film Festival were a restaurant, then Gerry would be the simplest looking meal on the menu. But you’d eat it slowly and be left with a terrible thirst afterwards.
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