I first discovered this film after seeing director Kelly Reichardt's quiet, disarming masterpiece
Wendy and Lucy (2008). It's a sparse film about a girl (and her dog, and yes, it's the same Lucy) driving to Alaska, running out of gas, then trying to figure out what to do next. It was the sort of alarmingly non-Hollywood realism that I've grown to really adore so when I dug into her filmography and found out about
Old Joy I knew I needed to track it down.
I've seen this film multiple times now. Right off the bat, I'll just come out and say it -- I love it. It's a film that I see so much of myself in (in both Kurt and Mark), as well as my friends, etc. shaped by my own life experiences this far along in my journey. it really resonated with me and I find it deeply affecting. While I find it life-affirming and hauntingly beautiful I'm not beyond reason and can see how it wouldn't be everyone's cup of tea. While it worked on a deeply personal level with me, others may not connect with the material at all, but in that case, I hope something in the film does register with them, even if its on a base entertainment level. It's a film nobody has or is really talking about, although, the critics that did see it heaped tons of praise on it which I'll go into later on in my closing thoughts.
Let's get started -- to help myself stay structured/organized so I don't ramble into a messy love affair here while attempting an exploration of the film's themes I'll tackle the two days that we're privy to in film's world separately:
Day One
I love how the first sound we hear right away is a meditation gong. I know this from attending several meditation sittings at a nearby retreat I visit on occasion. The sound is accompanied by some tranquil images, i.e. the bird on the rooftop, etc. but the reason I think its significant is that gong is rang at the start of a period of meditation, almost as if in the film it's suggesting we're supposed to get to that place of relaxation and receptiveness. I also dig the quick shot of the ants, busily scurrying about, that juxtaposed with Mark meditating is a nice contrast, similarly to Mark and Kurt's own contrast (not that I believe the two are intrinsically linked).
The discussion between Mark and his wife Tanya rings all too eerily to real life. Now, it's not the most flattering portrayal of domesticity, and by referring to it and my own life I'm not trying to say its altogether bad, but I've been in that spot before, and I've seen other friends there also. That little argument, if we can call it that, gives us plenty of insight into why Mark may want to get away for a couple days.
Soon after we meet Kurt, one of the first noteworthy things he says is, when asked about a recent trip, how transformative it was, how he's in a whole new place now, etc. I'll be posing questions that I asked myself throughout this essay, the first relates to what Kurt said there, or we to accept is as authentic personal revelation, or, anecdotal hyperbole in attempt to glorify his way of living in contrast to Mark's?
I like the driving stuff, beautiful handheld camerawork from within the car of all sorts of Oregon imagery, as well as the conversation that goes on. The tidbit about Sid's, the record shop, closing and how Kurt refers to it as an "end of an era" was a neat little moment. I must comment here on the gorgeous musical score provided by Yo La Tengo, I'm not gifted enough to write clearly and poetically about music, but the simplicity and tone of the music is pitch perfect for the story told.
I'll tackle the nighttime campfire scene now, its a pretty meaty one, lots of important moments and story happen there. I liked the line, "you can't get real quiet anymore", it kind of calls back to Reichardt's films in general, which celebrate quiet moments. Kurt's line, "you should have been there", can be seen similarly to my question above, as either a subtle jab at the stifled life Mark leads, or as genuine sentiment. Another line I liked was Mark's, "you forget all of this is out here", which I think rings true, I know a lot of people caught in their daily grind that couldn't recall the last time they went hiking or just enjoyed the skyline.
Kurt talks about knowing more than his professor, and, I feel like a lot of us have heard people spout similar boasts. It could be true, in many cases, but whenever I've encountered people who talk like that I often find it as more of a security defense to excuse their own shortcomings in the classroom. We get another great example of the contrast between Mark and Kurt here: nonsensical ramblings (i.e. teardrop universes) vs. silent condescension. We get a feeling Mark's suddenly questioning this trek. Then Kurt drops the bombshell, "I miss you, Mark... I miss you really, really bad". This is such a telling declaration, Kurt really puts himself out there, exhibiting a fearlessness in confronting the gap that's grown between them.
Day Two
We'll start with the diner scene which is another key one I believe. It's another superb example of the contrast between Mark and Kurt, this time in regards to the speed at which they choose to operate/live their lives. When the waitress assures Kurt that the hot springs are nearby he's happy, mentioning that this means they can take their time. In stark contrast, Mark quickly gives the menu a glance then pushes it to the edge of the table, upon being asked if they needed more time, Mark quickly replies he doesn't, then after giving his order he makes a hasty retreat outside to answer his ringing phone (another item that demonstrates their differences, it appears Kurt doesn't own a cellular phone which says a lot).
Here's the first time where I was disappointed/angry with Mark, speaking to his wife he says judgmentally, "remember who we're dealing with" in reference to Kurt. It seems like a mean-spirited, unnecessary stab, probably not meant as a scornful indictment, but more as a way of showing allegiance to his wife by discrediting his friend and placing the blame Kurt's way. Then, upon reentering the diner, while Kurt's apologetic, Mark replies, "I never doubted you, man". This strikes me as a such a memorable moment. Watch Mark's eyes as he says it! I can't figure him out. This leads me to my next question: is this redemption for what he said outside, Mark revealing his true colors, giving Kurt a heartfelt vote of confidence, or, is it more deceit, a false affirmation?
Now we'll get to the woods, where the guys were headed all along, and where some more of the film's finer moments take place. Kurt says, "I'm so proud of you, Mark". He says it without much inflection, at first, you almost wonder, is he being facetious? But, at least for me, that thought quickly subsided as I believe Kurt really meant what he said. He did admire Mark for giving back to the community, unfortunately, Mark's acceptance of this praise ends up awkwardly as he sort of puts his foot in his mouth. I also want to comment here that I loved watching Lucy run around the woods during these scenes. It gave an aura of legitimacy and authenticity to the proceedings and a simple beauty which reminded me of being young and my parents taking my brother and I out to the woods with our dog.
They arrive at the hot springs, their destination, and it's all it was built up to be. As a viewer I didn't have hot water to slip into but I did feel the rehabilitating effects of the springs and could "feel" the scene. I liked Mark's smile during Kurt's fairly tangential story, it was one of the most major signs that he was genuinely happy and glad he'd came. The story does give us one of the film's best lines, "sorrow is nothing but worn-out joy".
Let's talk about the homoeroticism here, or lack there of, depending on your interpretation of the scene. Some people have very heavily believed there was a sexual element involved in the men's relationship. I'm not so easily convinced. While there's undertones that play in the scenes I don't think its overt or really directly implied. There's brief nudity as they strip down to bathe in the rejuvenating hot springs and then there's the massage. Watching it this time it was clear to me that there was a certain level of uncomfortableness on Mark's behalf at first. But, the act transforms into a really selfless, beautiful one of generosity. Kurt's relieving some the mighty stress Mark is inundated with. I think it's a really touching moment.
As Mark drops off Kurt playfully says, "hold on a sec", almost as if acknowledging Mark's desire to speed away back to his regular life. Manohla Dargis of the New York Times said in her review, "From the way Kurt looks at Mark, it seems clear he knows there won't be another reunion". Then, there's the ending. What do you make of it? I've read different opinions, but ultimately, I don't feel there's much to gain from focusing on it. As in life, with this film, I think it's more about the journey than the destination, it's the moments, both spoken and not, that we witness. As Roger Ebert said in his review, "And sometimes the greatest drama can take place between the lines, or outside the province of the frame, and all we notice is a pause or a glance." In interviews Reichardt has been clear that she wanted the film to be ambiguous and open-ended, to not tell her audience exactly what to think or feel, but to allow them to come to their own conclusions.
Conclusion
Mark and Kurt are very much a yin and yang, two opposite ends of the spectrum, one resigned to normalcy, a mortgage, family life, etc. and the other unable to release that grasp on freedom, as we recall Kurt saying, "I've never gotten myself into something I couldn't get out of". I see a lot of myself in both of them: I'm a new father and don't have the freedom to do exactly as I please anymore, so can relate to Mark, yet I'm very much like Kurt, a bit of a wandering philosopher, and definitely enjoy the solemnity of the outdoors. I can't recall another film that so poignantly tackles the topic of friends drifting apart. It has profound insight into the human condition.
I think the casting was perfect, Daniel London (as Mark) and musician Will Oldham (as Kurt) are both terrific. I've watched the film several times now and continue to notice subtle things both do performance-wise that astonish and amaze me.
I wanted to use a bevy of critic quotes, as honestly, I don't have the writing skills or eloquence, to help paint a picture. A lot of people have written wonderfully on this film and I guess I encourage you to seek much of that writing out if you enjoyed the movie. The booklet that comes with the DVD has excellent pieces from The New York Times and The New Republic in it, and Roger Ebert wrote a glowing, four-star review, from which this line came, "There are unarticulated tensions, feelings of sorrow, unease and even dread that course through the movie like a hidden creek."
I guess all that's left to say is, anybody want to go to Oregon with me and check out some hot springs?
