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Matt Dillon is Henry Chinaski, the alter-ego of Charles Bukowski. This is a movie about a man who finds solace in a bottle and outlet in the written word. He struggles to be a writer, vivid that his perceptions on society are new and distinguished, but at the same time believing everything to be pointless.
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He can’t occupy a job down because he’s a drunk, but he believes he can’t possess a job down because every job is shackling his spirit. He can’t preserve a relationship because he’s not able to feel anything beyond his believe mind, and that’s such a fountain of strong emotion that he has to dampen it with booze.
This is not a overjoyed movie. This is a movie about despair and the agony of addiction. There’s no message of recovery or vindication or even race as in Leaving Las Vegas – the simple message is that for some people life is unprejudiced too distinguished to handle. For that message it’s a legal anecdote, unadulterated by the can-do propaganda of self-help America. This is the unlit side of civilization, the tale of one of those left late.
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Matt Dillon becomes Chinaski and he delivers a grand performance, at times violent, aroused, and hopeless, while at other times driven and manic. He sums up his life with the line, “All I want to do is gather my check and salvage drunk. It might not be well-behaved, but it’s my choice.”
The movie ends with these thoughts, and it’s from that world that Bukowski rose to give us a observe at ourselves.
“If you’re going to try, go all the draw. Otherwise don’t even initiate. This could mean losing girlfriends, wives, relatives, jobs. And maybe your mind. It could mean not eating for three or four days. It could mean freezing on a park bench. It could mean jail. It could mean derision. It could mean mockery, isolation. Isolation is the gift. All the others are a test of your endurance. Of how considerable you really want to do it. And you’ll do it, despite rejection in the worst odds. And it will be better than anything else you can imagine. If you’re going to try, go all the map. There is no other feeling like that. You will be alone with the gods. And the nights will flame with fire. You will glide life straight to perfect laughter. It’s the only honorable fight there is. ”
It’s not a movie for everyone, but I watched it three times. Dillon couldn’t have done a better job, but I’m shrinking it’s not the honest material for an Oscar nod.
So many people said after this year’s Academy Awards that Matt Dillon should have won an Oscar as best supporting actor for his performance in “Demolish.” Perhaps so, but he deserves an Oscar even more as best actor for “Factotum,” without a doubt. It is an offbeat movie that is not for the kids, but the camera captures the best acting that Dillon has ever done. Even with a beard and somewhat of a paunch, he radiates star power more so than in his other films.
First and foremost, IFC Films should be pushing for his nomination. The reviews are terrific, by and large; and it should be opened nationwide, not honest in art house theaters. This is a “sleeper” gem of a film. Along with an Oscar nod for Dillon might arrive one for Lili Taylor because she is terrific too. Clearly, “Factotum” is an Indie film that has arrive out of nowhere, ground zero in fact, and might be marked for “stardom” if IFC puts some “muscle” gradual the film in terms of marketing and promoting it.
In turn, its success might propel lots of independent filmmakers to “bear” that they too might “advance for the stars” and actually derive the brass ring. Dillon is a trusty talent, and so is Taylor. Marisa Tomei has a cramped but meaty portion, and she handles it with aplomb as she always does. For those of us who fell in cherish with her years ago, when she won an Oscar as best supporting actress in “My Cousin Vinny,” she shines in this movie too.
Even though Dillon’s character, “Henry Chinaski,” is an alcoholic and a womanizer who seems to fail miserably at all of his jobs, the one thread that keeps him alive and bewitching forward is his writing, which is ultimately his redemption–as it was for writer Charles Bukowski, on whose book the film was based. The only minor criticism of the movie might be that it needs some music in various scenes, and the kill credits need to be redone to execute greater clarity because they are impossible to read in a theater.
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