My Own Private Idaho

Gus Van Sant, truly one of the best directors in this century, has a visionary eye that enables audiences to see life in a different/new way. In this case he takes Henry IV- usually overshadowed by Henry V, and turns it in to a heart wrenching tale that modern audiences can appreciate. The visual pictures that get layered on and on and on our eyeballs are like dance steps carefully plotted. The use of lesser known actors is refreshing, and the chemistry between River Phoenix and Keanu Reeves is overwhelming. This is a must see for any lover of independent films, for any person tired of predictable plots, or for anyone who wants to open their heart to vulnerable characters and love them. This movie gets you involved.

I watched this film because I enjoyed Drugstore Cowboy and To Die For. As this film was also made by Van Sant before he fell off and made Good Will Hunting and psycho- I was looking forward to an off-kilter ride through rent-boy land. What I got was in fact one of my favourite films, and certainly one of the most under-rated American independent films in recent history. My Own Private Idaho has a kind of grimy transcendentalism that almost touches wong-kar-wai territory. The camera swaggers and frames with a touch that the cameraman must have been born with- the exposure always beautiful. Top marks to the DOP. Another revelation is the dialogue- sometimes playing on the Shakespearian themes that riddle the plot- itself sometimes works its way into a psuedo Shakespearian grandeur (look at the scenes with Bob in them). Another touch is the acting- fantastic performances from all concerned especially as it has been noted before River P. But lets not forget Reeves here- he also plays a fantastic part. But please, regardless of what I have just said- please do not expect much (as I did not) and then you may emerge from the viewing amazed and glad that you had dedicated your time to this gifted film-maker (like I did).

I do like the weird movies but sometimes they can go to far. This one went to far. There was never a point where I got interested. I just sort of watched until it was over with. This is a low grade Magnolia. In Magnolia, I was interested in the characters and where things would end up. There were better performances and a better understanding of what was going on. Here, I didn't know what was going on and didn't care. There never really was a story or plot and there was nothing to get interested about. The only good consistent thing about this movie is River Phoenix's performance. If this movie had been better, he might have been nominated for an Oscar. River Phoenix is truly one of the greatest actors to die before his time. His story is tragic b/c of how great a talent he was, and how we were robbed of what other things he could have done before his untimely death. If you're a fan of Phoenix, you might like this, but it just doesn't come together for me. I like Van Sant, I like Phoenix, I just don't like this movie. It happens! Oh well.

A narcoleptic hustler and his 'degenerate' (to his father) pal travel the Pacific Northwest in search of…what? Freedom? Affection? Adventure? Gus Van Sant's follow up to his career breakthrough 'Drugstore Cowboy' is full odd stylistic tics and transparent social commentary, all of it adding up to a merely pretentious film even more aimless and unmotivated than its two primary characters. Viewers might be forgiven for wondering where the story is going after the brief detour into Idaho itself (the trailer home reunion is a highlight), when the scene shifts abruptly, and for no good reason, to sunny Rome (yes, in Italy). There's plenty to look at, but all the gorgeous imagery hides a shortage of real ideas, and Van Sant's mock Shakespearean dialogue is an annoying conceit (at least the Bard is acknowledged in the credits). Udo Kier, as 'Hans', steals the film away from its two young stars, and the brief documentary appearance of actual teenage hustlers discussing their 'dates' shows what the film could have aspired to.