Pump Up the Volume (1990)
★★★ / ★★★★
Mark Hunter (Christian Slater) moved to Arizona from the East Coast and started his own radio broadcast–under the pseudonym Hard Harry–because he didn’t fit in at his new school. The topics he talked about while on the air ranged from silly (sexual jokes) to serious (fellow classmates expressing they wanted to end their lives). Students from all social strata found a connection with Hard Harry even though they didn’t know his face; they all shared the unhappiness of being a teenager. As the students began to express their thoughts and feelings, school officials, led by the tyrannical principal (Annie Ross), expelled students who chose not to abide by the rules and those who did not maintain an excellent academic record. This film might have been an instant favorite if I had seen it back in high school. I had my “moody rebel” phase and I thought it managed to capture teenage angst perfectly. While it successfully balanced humor and real issues, I admired that it always respected its characters. The screenplay did not result to template clichés common to John Hughes’ movies. The majority of the picture was dedicated to Hard Harry ranting to his listeners how the system essentially limited the potential of young minds and the hypocrisy of the rules imposed on students. Such scenes became all the more magnetic because the camera would cut to different teenagers who felt like they had no voice. Via participation in the ritual of listening to the nightly 10 o’clock broadcast, they felt like they had a voice, like they belonged. Like the many colorful listeners, I did not always agree with the opinion being broadcasted but the voice had enough insight to challenge our own beliefs. Moreover, there were some truly moving scenes like the student who wanted to kill himself and the bullied homosexual who was comfortable with who he was but just needed someone to talk to. Unfortunately, the second half of the film spun out of control. The romance between Mark and Nora (Samantha Mathis) felt a bit forced–which resembled her bad poetry–and the silliness of students acting like wild monkeys at school did not feel at all believable. In some ways, the scenes that depicted too much rebellion took away some of the power from the real message Mark wanted to share with his fellow students. “Pump Up the Volume,” written and directed by Allan Moyle, is an inspiring film especially for the disaffected youth and those who feel alone. Specific scenes designed to inspire someone to live one’s life will most likely remind viewers of the current surge of tragic pre-teen and teen suicides. Perhaps they, too, felt like they didn’t have a voice.
Short Cuts (1993)
★★★★ / ★★★★
This three-hour film is more personal than epic. Directed by Robert Altman, this mosaic of people who are living in Los Angeles is truly one of the best pictures of the 1990’s. I’ve seen a lot of movies that try to connect disparate characters which involve multiple storylines but this is the finest example of that kind of subgenre. What I love about it is that it doesn’t try to forcefully connect the characters; each transition and twist of fate happens in an organic way to the point where I can actually picture it happening in real life. I also liked the fact that it doesn’t try to tell a story about how one person changes for the better after going through a hardship. Instead, the film’s aim is to simply show who these characters are and how they respond to certain challenges that come knocking on their doors. I was involved in each storyline but the three that stood out for me was the bit about Andie MacDowell and Bruce Davison’s son, Julianne Moore and Matthew Modine’s slowly crumbling marriage, and Jennifer Jason Leigh and Chris Penn’s unexpressed frustrations. Other stories that focus on Frances McDormand, Robert Downey Jr. and Annie Ross are interesting as well but those are more the peripheral storylines that serve to support the picture’s bigger themes. Despite it’s three-hour running time, I wanted to know more about these quirky characters. Even though their lives are painfully normal, enough strangeness happen to such lives that makes them completely believable. If one is a fan of movies involving intersecting lives, this is definitely the one to watch. I was expecting this film to be like “Paris, je t’aime” in order to prepare for the release of “New York, I Love You” (which I’m beyond excited for) but I got something so much more astute and rewarding.