Nowadays, over-the-top violence is hardly anything to bat an eyelash at, but back in 1994, NBK was glorifying violence like no one had ever done before. For God's sake, the opening scene features Mickey (Woody Harrelson) and Mallory (Juliette Lewis) taking out an entire family, and they're just getting started. The grisly nature of the film earned it a spot at #8 in Entertainment Weekly's Most Controversial Films of All Time, and a few copycat killings, but looking at the film itself, is there more to it than cheap thrills and shock value?
Let's start with the scene that made Tarantino want his name off of the NBK script altogether: the infamous sitcom-molestation scene. Quentin Tarantino wrote the original script for the movie, but after Oliver stone re-worked it, all that was left were little Tarantino-esque flourishes (jukebox music, food symbolism, etc.). But what made him bitter enough to say "I hate that fucking movie"? Tarantino’s main complaint was filed against the scene where Rodney Dangerfield’s character is seen sexually abusing his daughter Mallory, in classic sitcom style. There's even a laugh track, an feature that also disturbed Tarantino. And not to say that Tarantino isn't a pleasant man, but if you've disturbed the guy who makes scenes where people rip each other's eyes out with their bare hands, you want to rethink your methods.
Let's start with the scene that made Tarantino want his name off of the NBK script altogether: the infamous sitcom-molestation scene. Quentin Tarantino wrote the original script for the movie, but after Oliver stone re-worked it, all that was left were little Tarantino-esque flourishes (jukebox music, food symbolism, etc.). But what made him bitter enough to say "I hate that fucking movie"? Tarantino’s main complaint was filed against the scene where Rodney Dangerfield’s character is seen sexually abusing his daughter Mallory, in classic sitcom style. There's even a laugh track, an feature that also disturbed Tarantino. And not to say that Tarantino isn't a pleasant man, but if you've disturbed the guy who makes scenes where people rip each other's eyes out with their bare hands, you want to rethink your methods.
“It came up with a little peanut psychology origin for why these people were the way they were,” he sniped. ” I rejected that in every way, and then that awful scene gives you a little pop psychology analysis.”
And that scene points out the obvious problem with this movie: the director. The idea is good, and with the right director it could have been a more well-executed, clever, satire, but Stone is all over the place, conceptually and visually. Just looking at the film is confusing in itself, it's a virtual cornucopia of camera and editing tricks. There are too many switches not only from color to black-and-white, but from one film stock to another. There's not a neutral shot to be found in the film, only a variety of angles and filters. There's even animation. And slow motion. And fast motion. The message- which is a good one, don't get me wrong- inevitably gets lost in this sea of impossible-to-focus-on gimmicks. Used in moderation, it might have all come together (The Science of Sleep handles this area quite well), but there is too much of everything in this case. It's self-indulgent and blunt, in classic Stone fashion.
The mess of art aside, almost everyone in the movie delivers an enigmatic, if not crazed performance. Woody Harrelson, the sweet, simple-minded boy we knew from Cheers, marked a significant turning point in his acting career with this role, turning him into the man we know and love today. Juliette Lewis matches his power, with feral beauty and a psychosis that is almost a little too convincing. Even the more unlikely actors cast (the fear-instilling Rodney Dangerfield) manage to work their magic, resulting in a thoroughly ensemble piece that keeps at least one damn thing consistent within the film.
But back to the message, the satirical commentary on a society obsessed with crime and scandal. Natural Born Killers is not so much about the psychotic Mickey and Mallory as about the near-cult following they inspire. During their golden age of killing, they're the most (in)famous people in America, and the public and the media go crazy for them. The people Mickey and Mallory come in contact with are freakishly excited about their brush with celebrity and the thrill of proximity to fame. The thing is, however, the connection between those in the film and those watching the film is not as strong as it could have been, especially when compared to the very similar, but very superior Man Bites Dog. Sure it's a satire, but sometimes it borders on hypocrisy.
This is a movie that's all wrong, and I know it, but I still find myself enjoying it every time I'm not-so-reluctantly coerced into watching it. To quote one of the characters: "It's a statement, though I'm not 100 percent sure what it's saying."
The mess of art aside, almost everyone in the movie delivers an enigmatic, if not crazed performance. Woody Harrelson, the sweet, simple-minded boy we knew from Cheers, marked a significant turning point in his acting career with this role, turning him into the man we know and love today. Juliette Lewis matches his power, with feral beauty and a psychosis that is almost a little too convincing. Even the more unlikely actors cast (the fear-instilling Rodney Dangerfield) manage to work their magic, resulting in a thoroughly ensemble piece that keeps at least one damn thing consistent within the film.
But back to the message, the satirical commentary on a society obsessed with crime and scandal. Natural Born Killers is not so much about the psychotic Mickey and Mallory as about the near-cult following they inspire. During their golden age of killing, they're the most (in)famous people in America, and the public and the media go crazy for them. The people Mickey and Mallory come in contact with are freakishly excited about their brush with celebrity and the thrill of proximity to fame. The thing is, however, the connection between those in the film and those watching the film is not as strong as it could have been, especially when compared to the very similar, but very superior Man Bites Dog. Sure it's a satire, but sometimes it borders on hypocrisy.
This is a movie that's all wrong, and I know it, but I still find myself enjoying it every time I'm not-so-reluctantly coerced into watching it. To quote one of the characters: "It's a statement, though I'm not 100 percent sure what it's saying."