Saturday Night at the Movies
Celebrating independence: Top 10 Indie Films
Celebrating independence: Top 10 Indie Films
By Dennis Hartley
With Independence Day upon us, I thought I’d share my top ten favorite indie films. You’ll notice that I went ahead and used “favorite” as a qualifier (instead of “greatest”) because I realized going in that there are as many differing views of what constitutes an “indie” as there are fingerprints (“What?! Not one Cassavetes on your list? No Altman?! Hartley, your critic’s license is revoked!”) The most obvious explanation for the lack of a consensus would the simple fact that independent productions have been around for as long as cinema itself. Citizen Kane was an indie…as was Plan 9 from Outer Space; one is considered by many as the greatest film ever made, the other is considered by many as the worst (I rest my case). Is a film “independent” because it is made outside the system, or because it feels outside the box? We now live in an age when major studios have an “independent” division, churning out self-consciously “quirky” formula product like so much hipster catnip. Who’s to say? So here’s the list…in non-ranking alphabetical order:
Badlands
– With only 6 feature-length projects over 40 years, reclusive writer-director Terrence Malick surely takes the prize as America’s Most Enigmatic Filmmaker. Still, if he had altogether vanished following this astonishing 1973 debut, his place in cinema history would still be assured. Nothing about Badlands betrays its modest budget, or suggests that there is anyone less than a fully-formed artist at the helm. Set on the South Dakota prairies, the tale centers on a 20-something ne’er do well (Martin Sheen, in full-Denim James Dean mode) who smooth talks naive high school-aged Holly (Sissy Spacek) into his orbit. Her widowed father (Warren Oates) does not approve of the relationship; after a heated argument the sociopathic Kit shoots him and goes on the lam with the oddly dispassionate Holly (the story is based on real-life spree killers Charlie Starkweather and Caril Ann Fugate). Malick took the “true crime” genre into a whole new realm of poetic allegory. Disturbing subject matter, to be sure, but beautifully acted, magnificently shot (Tak Fujimoto’s “magic hour” cinematography almost counts as a third leading character of the narrative) and one of the best American films of the 1970s.
– With only 6 feature-length projects over 40 years, reclusive writer-director Terrence Malick surely takes the prize as America’s Most Enigmatic Filmmaker. Still, if he had altogether vanished following this astonishing 1973 debut, his place in cinema history would still be assured. Nothing about Badlands betrays its modest budget, or suggests that there is anyone less than a fully-formed artist at the helm. Set on the South Dakota prairies, the tale centers on a 20-something ne’er do well (Martin Sheen, in full-Denim James Dean mode) who smooth talks naive high school-aged Holly (Sissy Spacek) into his orbit. Her widowed father (Warren Oates) does not approve of the relationship; after a heated argument the sociopathic Kit shoots him and goes on the lam with the oddly dispassionate Holly (the story is based on real-life spree killers Charlie Starkweather and Caril Ann Fugate). Malick took the “true crime” genre into a whole new realm of poetic allegory. Disturbing subject matter, to be sure, but beautifully acted, magnificently shot (Tak Fujimoto’s “magic hour” cinematography almost counts as a third leading character of the narrative) and one of the best American films of the 1970s.
Killer’s Kiss
– It’s been fashionable over the years for critics and film historians to marginalize Stanley Kubrick’s 1955 noir as a “lesser” or “experimental” work by the director, but I beg to differ. The most common criticism leveled at the film is that it has a weak narrative. On this point, I tend to agree; it’s an original story and screenplay by Kubrick, who was a screenwriting neophyte at the time. Hence, the dialog is a bit stilted. But when you consider other elements that go into “classic” noir, like mood, atmosphere and the expressionistic use of light and shadow, Killer’s Kiss has all that in spades, and is one of the better noirs of the 1950s. There are two things I find fascinating about this film. First, I marvel at how ‘contemporary’ it looks; somehow it doesn’t feel as dated as most films of the era (perhaps indicating how forward-thinking Kubrick was in terms of technique). This is due in part to the naturalistic location photography, which serves as a time capsule of New York City’s street life circa 1955. Second, this was a privately financed indie, so Kubrick (who served as director, writer, photographer and editor) was not beholden to any studio expectations. Hence, he was free to play around a bit with filmmaking conventions of the time (several scenes are eerily prescient of future work).
– It’s been fashionable over the years for critics and film historians to marginalize Stanley Kubrick’s 1955 noir as a “lesser” or “experimental” work by the director, but I beg to differ. The most common criticism leveled at the film is that it has a weak narrative. On this point, I tend to agree; it’s an original story and screenplay by Kubrick, who was a screenwriting neophyte at the time. Hence, the dialog is a bit stilted. But when you consider other elements that go into “classic” noir, like mood, atmosphere and the expressionistic use of light and shadow, Killer’s Kiss has all that in spades, and is one of the better noirs of the 1950s. There are two things I find fascinating about this film. First, I marvel at how ‘contemporary’ it looks; somehow it doesn’t feel as dated as most films of the era (perhaps indicating how forward-thinking Kubrick was in terms of technique). This is due in part to the naturalistic location photography, which serves as a time capsule of New York City’s street life circa 1955. Second, this was a privately financed indie, so Kubrick (who served as director, writer, photographer and editor) was not beholden to any studio expectations. Hence, he was free to play around a bit with filmmaking conventions of the time (several scenes are eerily prescient of future work).
Last Night
– A profoundly moving low-budget wonder from writer/director/star Don McKellar. The story focuses on several Toronto residents and how they choose to spend (what they know to be) their final 6 hours. You may recognize McKellar from his work with director Atom Egoyan. He must have been taking notes, because as a director, McKellar has inherited Egoyan’s quiet, deliberate way of drawing you straight into the emotional core of his characters. Fantastic ensemble work from Sandra Oh, Genevieve Bujold, Callum Keith Rennie, Tracy Wright and a rare acting appearance by director David Cronenberg. Although generally somber in tone, there are some laugh-out-loud moments, funny in a wry, gallows-humor way (you know you’re watching a Canadian version of the Apocalypse when the #4 song on the “Top 500 of All Time” is by… Burton Cummings!). The powerful final scene packs an almost indescribably emotional wallop.
– A profoundly moving low-budget wonder from writer/director/star Don McKellar. The story focuses on several Toronto residents and how they choose to spend (what they know to be) their final 6 hours. You may recognize McKellar from his work with director Atom Egoyan. He must have been taking notes, because as a director, McKellar has inherited Egoyan’s quiet, deliberate way of drawing you straight into the emotional core of his characters. Fantastic ensemble work from Sandra Oh, Genevieve Bujold, Callum Keith Rennie, Tracy Wright and a rare acting appearance by director David Cronenberg. Although generally somber in tone, there are some laugh-out-loud moments, funny in a wry, gallows-humor way (you know you’re watching a Canadian version of the Apocalypse when the #4 song on the “Top 500 of All Time” is by… Burton Cummings!). The powerful final scene packs an almost indescribably emotional wallop.
Pink Flamingos
– “Oh Babs! I’m starving to death. Hasn’t that egg man come yet?” If Baltimore filmmaker/true crime buff/self-styled czar of “bad taste” John Waters had completely ceased making films after this jaw-dropping 1972 entry, his place in the cult movie pantheon would still be assured. Waters’ favorite leading lady (and sometimes leading man) Divine was born to play Babs Johnson, who fights to retain her title of The Filthiest Person Alive against arch-nemesis Connie Marble (Mink Stole) and her skuzzy hubby. It’s a white trash smack down of the lowest order; shocking, sleazy, utterly depraved-and funny as hell. Animal lovers be warned-a chicken was definitely harmed during the making of the film (Waters insists that it was completely unintended, if that’s any consolation). If you are only familiar with Waters’ more recent work, and want to explore his truly indie “roots” I’d recommend watching this one first. If you can make it through without losing your lunch, consider yourself prepped for the rest of his oeuvre.
– “Oh Babs! I’m starving to death. Hasn’t that egg man come yet?” If Baltimore filmmaker/true crime buff/self-styled czar of “bad taste” John Waters had completely ceased making films after this jaw-dropping 1972 entry, his place in the cult movie pantheon would still be assured. Waters’ favorite leading lady (and sometimes leading man) Divine was born to play Babs Johnson, who fights to retain her title of The Filthiest Person Alive against arch-nemesis Connie Marble (Mink Stole) and her skuzzy hubby. It’s a white trash smack down of the lowest order; shocking, sleazy, utterly depraved-and funny as hell. Animal lovers be warned-a chicken was definitely harmed during the making of the film (Waters insists that it was completely unintended, if that’s any consolation). If you are only familiar with Waters’ more recent work, and want to explore his truly indie “roots” I’d recommend watching this one first. If you can make it through without losing your lunch, consider yourself prepped for the rest of his oeuvre.
Powwow Highway
– A Native American road movie from 1989 that eschews stereotypes and tells its story with an unusual blend of social and magical realism. Gary Farmer (who greatly resembles the young Jonathan Winters) plays Philbert, a hulking Cheyenne with a gentle soul who wolfs down cheeseburgers and chocolate malts with the countenance of a beatific Buddha. He has decided that it is time to “become a warrior” and leave the res on a vision quest to “gather power”. After choosing a “war pony” for his journey (a rusted-out beater that he trades for with a bag of weed), he sets off, only to be waylaid by his childhood friend (A. Martinez) an A.I.M. activist who needs a lift to Santa Fe to bail out his sister, framed by the Feds on a possession beef. Funny, poignant, uplifting and richly rewarding. Director Jonathan Wacks and screenwriters Janey Heaney and Jean Stawarz deserve kudos for keeping it real. Look for cameos from Wes Studi and Graham Greene.
– A Native American road movie from 1989 that eschews stereotypes and tells its story with an unusual blend of social and magical realism. Gary Farmer (who greatly resembles the young Jonathan Winters) plays Philbert, a hulking Cheyenne with a gentle soul who wolfs down cheeseburgers and chocolate malts with the countenance of a beatific Buddha. He has decided that it is time to “become a warrior” and leave the res on a vision quest to “gather power”. After choosing a “war pony” for his journey (a rusted-out beater that he trades for with a bag of weed), he sets off, only to be waylaid by his childhood friend (A. Martinez) an A.I.M. activist who needs a lift to Santa Fe to bail out his sister, framed by the Feds on a possession beef. Funny, poignant, uplifting and richly rewarding. Director Jonathan Wacks and screenwriters Janey Heaney and Jean Stawarz deserve kudos for keeping it real. Look for cameos from Wes Studi and Graham Greene.
Radio On
– You know how you develop an inexplicable emotional attachment to certain films? This no-budget 1979 offering from writer-director Christopher Petit, shot in stark B&W is one such film for me. That being said, I should warn you that it is not going to be everyone’s cup of tea, because it contains one of those episodic, virtually plotless “road trip” narratives that may cause drowsiness for some viewers after about 15 minutes. Yet, I feel compelled to revisit this one at least once a year. Go figure. A dour London DJ (David Beames), whose estranged brother has committed suicide, heads to Bristol to get his sibling’s affairs in order and attempt to glean what drove him to such despair (while quite reminiscent of the setup for Get Carter, this is not a crime thriller…far from it). He has encounters with various characters, including a friendly German woman, a sociopathic British Army vet who served in Northern Ireland, and a rural gas-station attendant (a cameo by Sting) who kills time singing Eddie Cochran songs. But the “plot” doesn’t matter. As the protagonist journeys across an England full of bleak yet perversely beautiful industrial landscapes in his boxy sedan, accompanied by a moody electronic score (mostly Kraftwerk and David Bowie) the film becomes hypnotic. A textbook example of how the cinema is capable of capturing and preserving the zeitgeist of an ephemeral moment (e.g. England on the cusp of the Thatcher era) like no other art form.
– You know how you develop an inexplicable emotional attachment to certain films? This no-budget 1979 offering from writer-director Christopher Petit, shot in stark B&W is one such film for me. That being said, I should warn you that it is not going to be everyone’s cup of tea, because it contains one of those episodic, virtually plotless “road trip” narratives that may cause drowsiness for some viewers after about 15 minutes. Yet, I feel compelled to revisit this one at least once a year. Go figure. A dour London DJ (David Beames), whose estranged brother has committed suicide, heads to Bristol to get his sibling’s affairs in order and attempt to glean what drove him to such despair (while quite reminiscent of the setup for Get Carter, this is not a crime thriller…far from it). He has encounters with various characters, including a friendly German woman, a sociopathic British Army vet who served in Northern Ireland, and a rural gas-station attendant (a cameo by Sting) who kills time singing Eddie Cochran songs. But the “plot” doesn’t matter. As the protagonist journeys across an England full of bleak yet perversely beautiful industrial landscapes in his boxy sedan, accompanied by a moody electronic score (mostly Kraftwerk and David Bowie) the film becomes hypnotic. A textbook example of how the cinema is capable of capturing and preserving the zeitgeist of an ephemeral moment (e.g. England on the cusp of the Thatcher era) like no other art form.
She’s Gotta Have It
– “Please baby please baby please baby please!” One of director Spike Lee’s earlier, funny films (his debut, actually). A sexy, hip, and fiercely independent young woman (Tracy Camilla Johns) juggles relationships with three men (who are all quite aware of each other’s existence). Lee steals his own movie by casting himself as the goofiest and most memorable of the three suitors- “Mars”, a hilarious trash-talking version of the classic Woody Allen nebbish. Lee milks maximum laughs from the huffing and puffing by the competing paramours, as they each jockey for the alpha position (and makes keen observations about sexist machismo and male vanity along the way). Spike’s dad Bill Lee composed a lovely jazz-pop score. Despite being a little rough around the edges (due to low budget constraints) it was still a groundbreaking film in the context of modern independent cinema, and an empowering milestone for an exciting new wave of talented African-American filmmakers who followed in its wake.
– “Please baby please baby please baby please!” One of director Spike Lee’s earlier, funny films (his debut, actually). A sexy, hip, and fiercely independent young woman (Tracy Camilla Johns) juggles relationships with three men (who are all quite aware of each other’s existence). Lee steals his own movie by casting himself as the goofiest and most memorable of the three suitors- “Mars”, a hilarious trash-talking version of the classic Woody Allen nebbish. Lee milks maximum laughs from the huffing and puffing by the competing paramours, as they each jockey for the alpha position (and makes keen observations about sexist machismo and male vanity along the way). Spike’s dad Bill Lee composed a lovely jazz-pop score. Despite being a little rough around the edges (due to low budget constraints) it was still a groundbreaking film in the context of modern independent cinema, and an empowering milestone for an exciting new wave of talented African-American filmmakers who followed in its wake.
Sherman’s March
– Documentary filmmaker Ross McElwee is truly one of America’s hidden treasures. McElwee, a genteel Southern neurotic (think Woody Allen meets Tennessee Williams) has been documenting his personal life since the mid 70’s and managed to turn all that footage into some of the most hilarious, moving and thought-provoking films that most people have never seen. Audiences weaned on the glut of “reality TV” of recent years may wonder “what’s the big deal about one more schmuck making glorified home movies?” but they would be missing an enriching glimpse into the human condition. Sherman’s March actually began as a project to retrace the Union general’s path of destruction through the South, but somehow ended up as rumination on the eternal human quest for love and acceptance, filtered through McElwee’s personal search for the perfect mate. Despite its daunting 3 hour length, I’ve found myself returning to this film for repeat viewings over the years, and enjoying it just as much as the first time I saw it. The unofficial “sequel”, Time Indefinite, is worth your time as well.
– Documentary filmmaker Ross McElwee is truly one of America’s hidden treasures. McElwee, a genteel Southern neurotic (think Woody Allen meets Tennessee Williams) has been documenting his personal life since the mid 70’s and managed to turn all that footage into some of the most hilarious, moving and thought-provoking films that most people have never seen. Audiences weaned on the glut of “reality TV” of recent years may wonder “what’s the big deal about one more schmuck making glorified home movies?” but they would be missing an enriching glimpse into the human condition. Sherman’s March actually began as a project to retrace the Union general’s path of destruction through the South, but somehow ended up as rumination on the eternal human quest for love and acceptance, filtered through McElwee’s personal search for the perfect mate. Despite its daunting 3 hour length, I’ve found myself returning to this film for repeat viewings over the years, and enjoying it just as much as the first time I saw it. The unofficial “sequel”, Time Indefinite, is worth your time as well.
Stranger Than Paradise 
– Jim Jarmusch’s 1984 debut firmly established his formula of long, static camera takes and deadpan observances on the inherent silliness of the human race. John Lurie is Willie, a brooding NYC slacker who spends most of his time hanging with his buddy Eddie (Richard Edson). Both suffer from terminal boredom, alleviated by constant bickering. Enter Eva (Eszter Balint), Willie’s teenaged cousin from Hungary, who shows up at his door (much to his chagrin). Eddie is intrigued, but the misanthropic Willie has no desire for a new roommate, blood relative or not, and Eva decides after a few days that she would probably find more welcoming accommodations with Aunt Lotte (delightfully played by Cecillia Stark), who lives in Cleveland. Flash forward one year, and we find Willie and Eddie still sitting around…still bickering. Eddie convinces Willie that a road trip to Cleveland might break them out of their rut. Willie grumpily agrees, and off they go to visit Aunt Lotte and cousin Eva. Much low-key hilarity ensues. Future film director Tom DiCillo did the fine black and white photography, evoking a strange beauty in the stark and wintry industrial flatness of Cleveland and its Lake Erie environs.
– Jim Jarmusch’s 1984 debut firmly established his formula of long, static camera takes and deadpan observances on the inherent silliness of the human race. John Lurie is Willie, a brooding NYC slacker who spends most of his time hanging with his buddy Eddie (Richard Edson). Both suffer from terminal boredom, alleviated by constant bickering. Enter Eva (Eszter Balint), Willie’s teenaged cousin from Hungary, who shows up at his door (much to his chagrin). Eddie is intrigued, but the misanthropic Willie has no desire for a new roommate, blood relative or not, and Eva decides after a few days that she would probably find more welcoming accommodations with Aunt Lotte (delightfully played by Cecillia Stark), who lives in Cleveland. Flash forward one year, and we find Willie and Eddie still sitting around…still bickering. Eddie convinces Willie that a road trip to Cleveland might break them out of their rut. Willie grumpily agrees, and off they go to visit Aunt Lotte and cousin Eva. Much low-key hilarity ensues. Future film director Tom DiCillo did the fine black and white photography, evoking a strange beauty in the stark and wintry industrial flatness of Cleveland and its Lake Erie environs.
Word, Sound and Power
– This 1980 documentary by Jeremiah Stein clocks in at just over an hour, but is about the best film anyone is ever likely to make about roots reggae music and Rastafarian culture. Barely screened upon its original theatrical run and long coveted by music geeks as a Holy Grail until its belated DVD release in 2008 (when I was finally able to loosen my death grip on the sacred, fuzzy VHS copy that I had taped off of USA’s Night Flight back in the early 80s), it’s a wonderful time capsule of a particularly fertile period for the Kingston music scene. Stein interviews key members of The Soul Syndicate Band, a group of prolific studio players who were sort of the Jamaican version of The Wrecking Crew (they backed Jimmy Cliff, Bob Marley, Burning Spear, and Toots Hibbert, to name but a few). Beautifully photographed and edited, with outstanding live performances by the Syndicate. Musical highlights include “Mariwana”, “None Shall Escape the Judgment”, and a spirited acoustic version of “Harvest Uptown”.
– This 1980 documentary by Jeremiah Stein clocks in at just over an hour, but is about the best film anyone is ever likely to make about roots reggae music and Rastafarian culture. Barely screened upon its original theatrical run and long coveted by music geeks as a Holy Grail until its belated DVD release in 2008 (when I was finally able to loosen my death grip on the sacred, fuzzy VHS copy that I had taped off of USA’s Night Flight back in the early 80s), it’s a wonderful time capsule of a particularly fertile period for the Kingston music scene. Stein interviews key members of The Soul Syndicate Band, a group of prolific studio players who were sort of the Jamaican version of The Wrecking Crew (they backed Jimmy Cliff, Bob Marley, Burning Spear, and Toots Hibbert, to name but a few). Beautifully photographed and edited, with outstanding live performances by the Syndicate. Musical highlights include “Mariwana”, “None Shall Escape the Judgment”, and a spirited acoustic version of “Harvest Uptown”.
—DH