As alluded to in The Early Films of David Gordon Green, the indie director may have a method to his madness.
It seems as if, each film ratchets-up the tension and emotional impact, ever-so-slightly; from the subtle angst of George Washington to the bittersweet heart ache in All The Real Girls to the simmering violence of Undertow, climaxing with the blunt-force trauma of Snow Angels, an absolutely heart-breaking melodrama starring Kate Beckinsale (Serendipity) and Sam Rockwell (Choke).
Snow Angels (2007)
In one of the best performances in recent years (sadly seen by few), Sam Rockwell plays an alcoholic father, divorced from Beckinsale (also very good), and desperately (desperate to the point of embarrassment), desperately trying to win his wife back, and re-form an irreparably broken family.
Rockwell's manic desire to prove his worth to everyone around him is simply harrowing, and incredibly authentic; especially to anyone who may recognize such a tragically flawed person in their own life.
But, Snow Angels is not as simple as that; there are concurrent story lines that run through the film; characters that string together a small town history, where everyone is connected in some small but significant way; so that when one piece of the string is tugged, it is felt throughout.
Snow angels is a hauntingly beautiful film, that delivers a frightening and potent insight into the anguish of lonely, desolate souls.
Pineapple Express (2008)
And if the previously stated theory regarding David Gordon Green's intention to continually up-the-ante on tension and high drama holds true; one would have to suspect he reached his dramatic pinnacle with Snow Angels; because, next came Pineapple Express.
And indeed, Hollywood finally does catch up with David Gordon Green with Pineapple Express, the best Cheech and Chong movie ever made.
And thankfully, fans of his work will recognize subtle little touches that may come off as odd to the average movie-goer; as when bad guy Gary Cole and bad cop Rosie Perez break character at the end of a scene; or when drug dealer James Franco sits on a bus stop bench anchored to his left and right by what appear to be real-life, honest-to-goodness everyday people.
These are the bits of cinema-verite that David Gordon Green fans love and expect, and thrill to find in a big, fancy Hollywood picture.
With the box-office success of Pineapple Express, it’ll be interesting to see where David Gordon Green goes from here. Will he take his new-found Hollywood clout and double-down, by homogenizing his work, next stop Palookaville; or will he continue to challenge the status quo, at the risk of being exiled like Orson Welles, next stop Ernest and Julio Gallo.
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