Retro: All the Real Girls

After the success of Pineapple Express, I wanted to take a look back on the first David Gordon Green movie I saw, All the Real Girls. I actually got to meet Green and star Paul Schneider at a screening after I wrote this.

There has been a trend in several low-budget, independent films made within the past few years, focusing on the struggles of relationships between rustic people in small (often Southern) towns. Films in this pattern include The Good Girl, In the Bedroom, You Can Count on Me, and now, All the Real Girls.
David Gordon Green, who wrote the screenplay and directed, gives audiences a simple but stunning look at a small town in Appalachia. Paul (Paul Schneider) is a goofy but seemingly good-natured young man. His womanizing, however, has left him with a bad reputation. He hangs out with his buddies like Tip (Shea Whigham) and Bust-Ass (Danny McBride), drinking beer and talking about girls. Things change when Tip’s little sister Noel (Zooey Deschanel) returns home after graduating from an all-girls private school. Paul instantly becomes enamored with Noel, and Tip, knowing Paul’s ways with women, warns her not to fall in love.
Paul begins to let his guard down with Noel. He becomes more sympathetic with her and shows signs of maturation. Paul has slept with many different girls, and Noel is a virgin, but Paul does not push anything too fast. Just when the film seems like a lower-budgeted version of a sappy romantic comedy, Noel turns the tables on Paul. Now he must deal with the feelings of loss and heartbreak that he has caused so many girls.
Paul also has to deal with a depressing situation at home. His single mother, wonderfully portrayed by Patricia Clarkson, takes a job as a clown. Paul wants to help her, but he also wants to keep some of his individuality.
Paul eventually learns something about relationships, young love, and maturation. After his breakup with Noel, he begins to see how his past mistakes have hurt many people. Even Tip and several other characters go through a maturation process. These are simple people, but they can learn. In the end, it seems as though every character has learned something.
This is a solid film, supported by Green’s appropriate cinematic work. He captures the stale atmosphere of the town beautifully. He shows the monotony of the factory that holds the town together and the decaying neighborhoods on its riverbanks. In a memorable sequence, he juxtaposes drawings made by sick children with their actual facial responses to Paul and his mother dancing at the hospital. He includes enough comedy to keep things from being overdone, but for the most part, it is a serious and well-made drama.
The cast includes some unheralded actors, but performs well. The one film veteran, Clarkson, does a fantastic job. Deschanel, who was in The Good Girl (and makes the connection between these two films stronger), aptly portrays the naïve but unique love interest of Paul. Schneider, who helped come up with the story, handles the main role with a good amount of goofiness and seriousness. McBride, another newcomer, is a hilarious scene-stealer.
Green succeeds in his second feature film. Sometimes it seems a bit hokey, and a little overdramatic, but All the Real Girls holds up amazingly well for a film with its budget. This heartwarming and serious tale of young love is as strong as most independent films can hope to be.

Post-awards blues, films in brief

I've been in my post-Oscar daze for several days now, or is it weeks? I was stunned by a show that didn't infuriate me for once. I was happy with most of the winners, and left kind of subdued by the whole thing. It was pretty low key. I am now in the weird state of not being upset.

The Independent Spirit Awards were much feistier. Rainn Wilson had some wild fun and I might have liked some of the winners there better (Tamara Jenkins and the almighty Phil finally got some rec for The Savages). For the foreign film category, people had to choose between Once, Persepolis, Lady Chatterly, and two very highly rated films that I want to see.... that's tough.

Some reviews.....

Margot at the Wedding -

Much like Who's Afriad of Virgina Woolf and other such emotional train wrecks, this a fun look at dysfunction. Nicole Kidman and Jennifer Jason Leigh are sisters from a privileged but crazy family who haven't spoken in years. Now they are putting it aside to celebrate Leigh's wedding to Jack Black, except that they're still bitter and sniping at each other. Both these actresses are great as unstable people who keep undermining each other, and there are fine supporting roles by JB (keeping comedy), Ciarin Hinds, John Turturro, and some good kid actors. This builds up a fine mess, but then... well, it's over too soon. Noah Bambauch almost had a considerable follow-up to the Squid and the Whale, but he might have done more... although, he's made his point. This family is effed up, and it's not stopping.

Rocket Science -

I almost saw this at the L.A. festival, but it was sold to an indie distributor. It seems right out of the Thumbsucker / Napoleon Dynamite / Igby Goes Down mode of a quirky film about a teenager trying to fit in and adjust to life. It's not anything new in the Sundance world, but it is enjoyable. The kids in this are funny, and the classic underdog story goes off track enough to make it different. Watch for Claire's flying boyfriend from Heroes.

Also, this has one big thing going for it: newcomer Anna Kendrick. She was very good. I hear she is getting a ton of offers now, and I hope to see more of her.

George Washington -

I'd wanted to see the first film of David Gordon Green, a new age indie guy who loves to make slice-of-life, realism driven, uncompromising films. Like his hero Terrence Malick, he gets a lot of great visuals out of the forgotten parts of the country. The problem with making things so much like reality is that the story can drag. Here, it seems like just a big picture of a poor Southern town, but when a boy accidentally dies, it picks up. This was pretty impressive for a young guy without any money or major actors (it was a festival sensation a few years ago). For those interested in this wave of indie neo-realism, it's an important piece.

Gone Baby Gone -

Maybe the biggest surprise of the year for me was finding out that people were praising Ben Affleck. He was getting good marks for directing and his brother for acting. I was skeptical, but it's true: Baffleck is remarkable behind the camera. This is a solid drama with some intense moments that that really hooked me. Casey Affleck is good as a detective who has to ask on some of his shady old pals to help him find a missing girl. I'm still wondering if Amy Ryan got snubbed too hard, because she does great in the most unflattering role a woman can have. Ed Harris and Morgan Freeman add with their usual charm, but Baffleck gets the most out of the supporting people, some of whom were real drifters from Mass. He builds up an interesting story that goes into unexpected places, and ends with a tough question. It's a strong emotional pull. In fact, I was thinking how this is really the movie that Mystic River was trying to be, but it doesn't fall apart at the end. Yes, it's good. Who knew? I can only hope that a certain someone realizes that he should never act again and stay behind the camera.