Tag Archives: brandon hill

Hesher (2010)

3 Oct

As Hollywood is generally chary of admitting the genuinely ugly into its ranks, the ability of its stars to ‘ugly up’ is a much cherished one. The paradox of fame is that the adulation brings with it a nagging urge to be viewed as a ‘serious artist’, a quest for authenticity and legitimacy that inevitably leads to a brief holiday from the glamorous trappings. And it often reaps dividends: Halle Berry, Julia Roberts, Charlize Theron and Nicole Kidman all picked up Oscars for their ‘bravery’, resorting to unflattering prosthesis in Kidman’s case. Action alpha males Sylvester Stallone and Vin Diesel tried this tactic with less success in ‘Copland’ (1997) and ‘Find Me Guilty’ (2006); Sly developing an impressive gut and Diesel donning a conspicuous toupee for nought. Ironically, Natalie Portman goes the other way in ‘Hesher’, forsaking the high-camp paranoia that earned her the plaudits in ‘Black Swan’ (2010).

T.J. (Devin Brochu) and his father, Paul (Rainn Wilson), are struggling to come to terms with the death of their mother and wife (Monica Staggs). Paul is crippled by his grief, living in a pharmaceutical fog, meaning that T.J. is being raised by his ailing Grandmother (Piper Laurie). On one of his many lonely bike rides through the neighbourhood, T.J. encounters Hesher (Joseph Gordon-Levitt), a pyromaniac misanthrope squatting in a derelict house. T.J. encounters Hesher on multiple occasions over the next few days as he tries to evade the attentions of the school bully, Dustin (Brandon Hill), and obsesses over Nicole (Natalie Portman), a decorous grocery store clerk who saves him from a beating at the hands of Dustin. Hesher slowly insinuates himself into T.J’s family life, providing some salutary life lessons in his brutally candid manner.

Spencer Susser’s debut feature channels the spirit of ‘Gummo’ (1997) and ‘Slacker’ (1991) in its blunt evocation of fringe culture, veering away from the whimsical explorations of suburban malaise that have deluged indie cinema – it hardly bears repeating that suburbia is not what it seems, and the awkward formality of the family meal is as trite now as it was in ‘American Beauty’ (1999). There is not a single moment when Susser’s wish to illustrate his abilities with a particular technique or stylistic flourish detracts from the naturalism; a trap so many young directors fall into. The screenplay – written by Susser and ‘Animal Kingdom’ creator David Michod – abandons the easy course in favour of a more nuanced, rewarding tack: Hesher could so easily have been a stoner caricature, but the character is imbued with such venom and menace as to negate any suggestion of that. Metallica’s music punctures the silence that holds sway over the violently banal backdrop; offering a portal into Hesher’s nihilistic mindset, the sudden bursts of ‘The Shortest Straw’ acting as his signature.

Levitt has developed from a fresh-faced sitcom star to one of the most accomplished actors of his generation, breaking away from his anodyne past and making difficult choices to amass a formidable body of work – we should relish him before he is lost to the franchise film for good. Levitt succeeds in delineating the character’s complexities, the rage and dislocation that fuels him, embodying the complexities of adolescence: the boorishness and hypersensitivity, the aggression and vulnerability. Brochu delivers the best breakthrough performance since Paul Dano in ‘L.I.E’ (2001), carrying the film with a poise that hints at a very bright future; while screen veteran Laurie is quietly devastating as the befuddled mater of her damaged clan. Wilson is mercifully lacking in affectation; while he can’t match Philip Seymour Hoffman when playing a wounded, ineffectual lump of a man, he exhibits laudable restraint. Portman proves to be the sole disappointment; she dons oversized glasses and frumpy clothes, but is never able to overcome her fame. She is never anything other than Natalie Portman, and as such her character’s battle between self-perception and reality carries little weight: a common problem for those striving to balance their public profile with creative contentment.

‘Hesher’ offers us a Generation X fable: Hesher is a harbinger of T.J’s impending adulthood; a spectre of chaos; a spirit of mischief. There is a strange sort of heroism to Hesher’s stance; he knows all the shortcuts within his circumscribed realm, exuding a Zen-like calm as he unleashes carnage upon a world he despises; grasping its harsh logic and taking it as his credo. But Hesher doesn’t heal the family’s wounds and enrich their lives, which would no doubt have been the case if this were a mainstream take on guardian angel lore. Refreshingly devoid of sentiment or irony, ‘Hesher’ plays it straight; which is not to say there isn’t humour, it just isn’t allowed to consume the film’s serious core and undermine its intent. ‘Hesher’ offers a vibrant, visceral alternative to the slew of identikit indie films being churned out by the Sundance factory system.

 

Portman: shy, retiring wallflower