TIFF Review: Memories of Idaho (Franco, 2011)
November 11th 2011 23:49
Memories of Idaho (Franco, 2011)
Written October 9, 2011
At Bell Lightbox in Toronto, during the International Film Festival’s run, spectators were privy to a free screening of James Franco’s Memories of Idaho. Curtained off in an artistic space, viewers convened in front of a projection screen while taking in the atmosphere around them. The space was sparse and vintage looking, meant to highlight the seedy red-light atmosphere of some particular parts of Gus Van Sant’s My Own Private Idaho. Donning one wall were pictures Van Sant took himself, collages of some of the real life people hustlers portrayed in his 1991 film. Franco clearly has a great deal of respect for Van Sant and a frequently admitted love and admiration of the film and its star, River Phoenix. Franco has created two separate entities, shown on a loop at the Bell Lightbox during the film festival. The first is a montage of outtakes, extended scenes and alternate scenes of Phoenix in My Own Private Idaho. The second is a filming of early scripts by Van Sant to create an entirely different ‘Idaho.’ Both are fascinating.
My Own Private River
River Phoenix was the best young actor of his time and a talent cut way too short. If still alive today, he’d probably be considered the finest actor of his generation. With an ability to captivate entrance and turn in repeatedly consistent performances, he was a sight to behold. Arguably, his greatest work came at the hands of Van Sant in 1991’s My Own Private Idaho. Phoenix played the soft-spoken, troubled Mike Waters – a narcoleptic prostitute on a search for his mother. Mike’s relationship with Scott Favor (Keanu Reeves) a fellow prostitute from a very different upbringing is a focal point of the film. The direction their storyline takes would not have existed without the input of Phoenix. The result is a film drenched in unrequited love and dripping off Phoenix’s character, saturating his performance. Franco is aware of this and therefore, many of the chosen deleted scenes deal with this aspect of the character. It’s fascinating to see a montage such as this – to envelope oneself in the power of Phoenix’s performance and the palpable want and vulnerable present. Van Sant’s camera lingered on Phoenix’s expressive face, allowing the audience to identify with him in profound ways. In the scenes in which the takes are alternate or extended, one must wonder why Van Sant chose not to use them. In particular, the scenes in which Mike talks with Carmella and when Scott tells him he’s leaving are terribly effective and fascinating. The latter is devastating; the viewer’s heart is breaking along with Mike’s and Phoenix gives it his all, holding absolutely nothing back. His mannerisms, facial ticks, and the way he carries himself – with an edge so vulnerable he may break into pieces in front of our eyes is unmatched today by any actor in his age range.
Franco has provided film connoisseurs and Van Sant lovers with a beautiful showcase of a performer whose talent is unparallel. Moreover, he does it with clear love and respect.
Idaho
The second part of Franco’s exhibition is a filmed version of two early scripts from Van Sant. Franco combined aspects of early drafts of Van Sant’s My Own Private Idaho and filmed the content on an 8mm camera with a wholly new cast aside from the wonderful Udo Kier who reprises his role as Hans. Franco uses a multi-cultural and diverse cast, providing the film with more of an urban feel. His lead actors are very young looking, bordering on adolescence as opposed the 20-something vibe of Van Sant’s final version.
Although our lead character is supposedly donning the Phoenix role, we rarely compare him, even when he’s reciting dialogue that is nearly verbatim. Franco’s intent is not a remake, but an homage to what could have been; an alternate reality if you would, for these characters that are similar yet incredibly different. There are significant differences in terms of content within the script. One, there is no issue of class differences as the subplot with Scott’s inheritance is omitted. There is also no relation whatsoever to Henry IV even though My Own Private Idaho borrows and parallels the tale heavily with intention. Notably, a great deal of Mike’s storyline is given to Scott – it is Scott looking for his mother, Scott’s family member’s house they go to.
But the biggest different, and least surprising, is the lack of romantic subplot between Mike and Scott. Unsurprising in the fact that, as mentioned above, it was not Van Sant’s initial intent. After watching My Own Private River immediately before, the omission is glaring. There’s a lack of connection between the boys, a lack of motivation. When the Scott-based character leaves, it feels odd – there’s no real emotional core or ramifications at stake.
Franco’s decision to film on 8mm is rather ingenious. The result is a ghostly dreamlike film, blurred and soft around the edges, like something we were never meant to see – like footage lost from long ago only to be uncovered, dusted off, and revealed to unsuspecting eyes.
The end result of Idaho is fascinating look at what could have been – a film so different in tone and content, so removed from the iconic characters and atmosphere we’ve come to adore and recognize as a special piece of celluloid.
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