Artists / Soundtrack
||"Milk and Honey" Jackson C.
||"Forever Away" John
The Brown Bunny.
One of the most elusively astonishing films I have seen in quite
awhile -- also one that I would probably never recommend to anyone
else, least have any expectations of enjoyment or gratification.
Yet, as for myself, I will brazenly file this flick next to, say,
Fellini, amongst the adored. Pour quoi? Well, my vindications lie in
the framework of the personal, and anyways, this isn't really a film
As I watched The Brown
Bunny, the phenomena -- the singularity
-- of the 'road trip' that Gallo so gorgeously rendered conjured
both the psychological and corporal familiarity within me. I began
wondering, and recalling my own delicate experiences on the road --
explicitly the music that bridged the connection between the mental
and the scenery, making for a kind of cerebral landscape, I guess.
This portrayal of the cerebral landscape involves the greater
essence of The Brown Bunny, as we
intimately watch Bud Clay travel cross-country. From grassy New
England, through the midwestern heartland, lost amidst the infinite
desolation of the desert-west, to his objective destination of Los
Angeles, California -- we participate on this scenic trip with all
its splendor and aridness as we peer in first-person through the
windshield. This melancholy abandon, hypnotizing disassociation...
this candor, lonely allure is captured
idyllically through crude shots of fuzzed out windscreen wipers, as
the rain gushes down the glass, and through the dreamlike washes of
an ever-permeating dusk -- imagery that is stunningly channeled
through the music of Jackson C. Frank, Jeff Alexander, Gordon
Lightfoot, Matisse/Accardo Quartet, and Ted Curson.
Moody, jejune, sentimental, warm, and
poignant -- these cherished cuts range from candid folk to charming,
unadorned jazz. Although, the tunes are primarily acoustic,
including the last five pieces featured on the soundtrack. These
songs belong to John Frusciante, which ambiguously did not appear in
the movie yet served as an inspirational platform to Vincent Gallo
in the developing of The Brown Bunny. I
was introduced to Frusciante's world, external of the Chili Peppers,
quite recently through his collaboration with the Mars Volta and his
amazing effort Niandra LaDes and Usually Just
a T-shirt. His brilliant guitar work and unique, otherworldly
vocals delivers a mesmerizing ambience that lingers on the brink of
sorrow and wanders through the depths of alienation, an atmosphere
paralleling that within the film.
As a general rule I've held that soundtracks
are best held solely within the context of the film and are usually
superfluous as independent releases; but this can hold its own
(outside of the fact that half the songs weren't even in the movie)
as one can divulge their own narratives and imagery to this frank
perception of sadness and disaffection... [MT]