Garden State Review
by David N. Butterworth (dnb AT dca DOT net)August 18th, 2004
GARDEN STATE
A film review by David N. Butterworth
Copyright 2004 David N. Butterworth
***1/2 (out of ****)
They're out there, these self-proclaimed "Garden State" "trailaholics," a bunch of high res IMDb message board junkies who've downloaded the "Garden State" QuickTime teaser trailer to their desktops and launch the thing over five hundred times daily, luxuriating in its sublime and intoxicating marriage of sound and image.
For this trailer is the near-perfect
grab-you-by-the-seat-of-the-emotional-pants
gotcha, a one-minute mind meld that pairs artistic, strategically selected film
clips with Frou Frou's hauntingly melodic "Let's Go," a succinct yet magical promise that, if the movie itself is half this good, we're in for an absolute treat. And we are.
What's remarkable about "Garden State," an Official Selection at this year's
Sundance Film Festival, is that not only does it represent a surprisingly mature
directorial debut (of Zach Braff, familiar to fans of TV's "Scrubs" as Dr. John
"J.D." Dorian) but its trailer is uniquely representative of its whole. How many times have you exited a movie complaining that all of the best bits, all of the funny bits, were in its trailer? "Garden State"'s trailer hints that the film's all art shots, no substance, and then you see it and realize that what makes it so good is that these bold, peculiar, and evocative images are all carefully woven into the fabric of the film, supporting the narrative, not just art for art's sake.
Writer/director Braff plays Hollywood actor Andrew "Large" Largeman, who returns to his New Jersey hometown after his paraplegic mother drowns in the family bathtub, hooking up with old friends he hasn’t seen in years (including "Shattered Glass"'s Peter Sarsgaard), half-attempting to make up with his estranged
father (Ian Holm), and falling for a quirky former epileptic ice skater he meets
at the doctor's office (Natalie Portman).
That's all you really need to know, plot-wise. Apart from the fact that Large has been on some kind of medication from as far back as he can remember and is only now coming out of his anti-depressant haze. The beauty of the film
is experiencing Braff's character reacting to the eccentricities of the everyday,
greeting each event with that half vacant, half bemused expression of his that only serves to intensify the quirkiness going on around him.
To write, direct, and star in a film this accomplished--especially if it's
your first--is amazing. "Garden State" is fresh, poetic, moving, ironic, and lyrical, beautifully filmed with ne'er a shot wasted. The director's artistic sensibilities are impressive.
Likewise, the performances are rich and textured, genuine and touching. For all of his screen time Braff never seems in your face. He speaks mostly in monosyllables; he rarely preaches. Portman is goofy and radiant and not afraid to be wacky--an awkward appearance here, a spontaneous action there--to keep her character vibrant and credible (and yes, those huge headphones really bring out the beauty in her cheekbones). Holm and Sarsgaard (and the ever-dependable
Jean Smart) are solid in support.
But this is Braff's film through and through. He infuses it with humor of both the subtle and the slapstick variety. He has us choking back tears (from the film's incredible opening shot to its concluding, life-affirming moments).
And he blends an exquisite array of contemporary songs on the soundtrack that serve to augment his achingly original narrative, rather than simply dropping in like jukebox patter whenever his characters run out of things to say (for they don't).
Be teased no more and consider this: "Garden State" and you. Perfect together.
--
David N. Butterworth
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