“Old Joy” And The New Movie Biz Dynamic
Anybody who truly cares about cinema should be in a state of extreme consternation about how the biz is evolving. I guess I should further say I’m preaching to those who like their movies on the big screen. In a theater. With a box of popcorn.
Truth is more intelligent, provocative films than ever are being released on DVD, some actually going straight to that digital medium, some going to Blockbuster shelves the same day they appear on the screen. In limited markets, of course, for the latter.
Studios are going for the big bang. “Pirates of the Whatever” can be seen on 15-40 screens in any given town, depending on the size of the burg. A film such as “Old Joy,” which I shall talk about in due course, struggles to find a showing. Even in a town, Louisville, where the featured actor was reared and still has family connections.
Even the most popular of the small films, say “The Last King of Scotland,” only make it to wide distribution, after being honored to the hilt. Seems studios have taken to printing only a small number of copies of lesser, independent or foreign films. Which obviously makes it hard to play in more that a dozen cities when there are only a dozen copies of the film
This problem will certainly be alleviated when the industry goes all digital all the time. When theaters simply download the films into computerized projection devices. It ain’t gonna be tomorrow though.
Until then, any market that isn’t New York, L A or Chicago is going to be stuck with the leftovers. People elsewhere have to wait until the good small indies hit the shelves of Wild & Woolly and its ilk before they can be viewed. Some towns have a screen or several on which such fare can be viewed. But it works only if the owners of those screens are aggressive in their booking policies. Unfortunately, Louisville isn’t one of those towns.
More’s the pity.
Which diatribe emanates from the situation with “Old Joy.” It “stars” Will Oldham, a Louisville guy, who has gone on to some standing in the alternative music/ cinema universe. The movie was going to open in January at Baxter. Something happened. I don’t know what it is. I didn’t ask.
It will play two nights ONLY at the Floyd Theater at U of L. The dates are April 5 and 6. Mark them down if you wish to view this quiet, but haunting contemplation.
I have screened “Old Joy” — at home sadly — and it makes sense that theaters are reluctant to book it. The film is gentle and worthy. It is also an acquired taste. It is the smallest of intimate ruminations.
Will Oldham plays a stoned free spirit, a throwback hippie, who travels about in search of, you know, the meaning of life, serenity, himself. He’s back in town. He hooks up with an old buddy, played by Daniel London. London is married, his sweetie is with child.
Oldham cajoles London to camp out for the night at some nearby hot springs. They interact in that disquieting way that old friends who aren’t quite anymore relate to each other when they can’t simply move on.
And, uh, that’s it.
Lots of lingering shots out the window of London’s car, while they’re driving into the woods. Lots of languid shots of nature. And dialog between the two. Mostly one-sided in favor Oldham’s skewed observations and the postulations that come from them.
Independently, the film babe and I were both reminded of “My Dinner With Andre.” Two people talking; one, full with pontification, doing the most. The other reacts. I hated “My Dinner With Andre.”
Not so, “Old Joy.” It flows with a gentle rhythm. It is unassuming. Perhaps, to a fault. It is deceptively contemplative. And, my guess is, a lot of filmgoers will find it boring. Neither the film babe nor I thought so. Yet we were both pleased at its 76 minute length.
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