High Art

Independent films have always been among my favorites. Usually because they don’t rely on big budgets, special effects and the usual studio hype so many films today are afflicted by. High Art (1998) is at times a very disturbing film. It deals with subjects often considered taboo and shunned by the large studios. Still, the performances carry this film and they carry it very well. The story centers around Syd (Radha Mitchell) recently promoted to Assistant Photo Editor for a glossy, up scale photography magazine. Although she was promoted she is still treated like an intern, running petty errands with little or no real responsibility. She is drifting through life, knowing that she should take the incentive to better herself but just lacking the drive and opportunity to do so. Syd lives in a loft with her boyfriend James (Babriel Mann). He is not really very supportive, always pushing her in a manner that borders on degrading. It’s nothing overt but the film does an excellent job of showing the growing tension between the couple. The dynamic of Syd’s life, her ineffectiveness at work and subservient relationship with James sets her up emotionally for what is to come. One evening while Syd is trying to take a bath she notices a leak from the upstairs apartment. She goes to try to fix it and meets Lucy (Ally Sheedy). Lucy is a former great photographer, a heroin abuser and a lesbian. Drawn to photos displayed in the apartment and by Lucy’s former greatness Syd begins a friendship with Lucy. Lucy is living with a has-been chain smoking German actress Greta (Patricia Clarkson) who is so deep into using drugs that she is almost comatose throughout the film. Syd takes her discovery of her new friend’s talent to her bosses and discovers that Lucy was once among the best but just seemed to drop off the face of the earth. As the friendship between Syd and Lucy develops Syd soon finds herself experimenting with snorting heroin and borders on addiction herself. The friendship deepens as Lucy begins to fall in love with Syd and Syd finds herself drawn deeper and deeper to Lucy.

This film works on an emotional level. While many in the audience may at first be repulsed by the alternative ‘life styles’ of the characters the story draws you in. While Syd is pushed away by James she finds acceptance with Lucy. The danger of the drug use and lesbianism entice Syd, offering sensation in a life devoid of any change. It is not so much that we see Syd decent we see a young woman that is numb emotionally try to break out, albeit in a destructive way. Syd soon discovers that drug use can not fill an empty life; her existence just falls into another type of rut. Lucy becomes not only the panacea for her personal doldrums but a chance to finally prove herself at work. Lucy is an exhausted human being. She gave up the success of photography apparently out of apathy. Now Lucy finds drugs and the cadre of people in her life do nothing for her. She agrees with Syd’s plan to reenter the world of photography partial to be close to Syd and partially jus to have something different to do.

This film is a showcase for some excellent acting. Mitchell is perfectly cast as the almost waif-like editor Syd. Mitchell permits some inner strength to show through, some capacity for self determination but balances this with a young woman that is so used to being lead by others that she sublimates her own will. Her interaction with Sheedy’s character Lucy is the catalyst. Syd begins to feel and act upon desires she never imagined. Still, Lucy is the dominant one and tends to set the direction at every turn. Sheedy’s performance displays a great dedication to the craft of acting. Sheedy balances the role of the recluse photographer, heroin addict and lesbian extremely well. Both of these young women exhibit great range and depth to the emotions they invoke in the audience. While the supporting cast is very good this movie boils down to a two-woman showcase. When you view this film pay attention to the details, the little glances between Sheedy and Mitchell, a slight touch or little body movements. They tell the whole story in these details. While the overall tone of the film is rather dark the talent of Sheedy and Mitchell provide what is necessary to make this film into one that is difficult to turn off.

The director for this opus is Lisa Cholodenko. She has the potential to become a really good independent filmmaker. While I don’t think she will ever fit in to the Hollywood mainstream I see this as a good thing for the audience. Cholondenko exhibits a style and grace in this film, again, by paying attention to the details. The scenes are well constructed and often contrast the prevailing mood of the scene. For example in the leaky bathroom in Lucy’s apartment the photos on the wall exhibit composition and talent that is anachronistic to the drug abuse and hedonism that routinely occurs in the next room. The control of the photos Lucy takes displays the potential that she turns away from with her life of drifting along snorting heroin. Cholodenko keeps the pace of the film a bit off balance. The film seems to start and stop quite frequently as Cholodenko plays with the lighting and mood.

At long last this film has been given a DVD release. Universal is gaining a reputation of releasing smaller films with the same care as the big budget block busters. The disc is presented in Dolby two channel audio that his clear generally provides a good sound stage. Full six channel sound is not really needed for this emotion driven film. The anamorphic video is a treat considering how well each scene is composed. There was the addition of an interesting commentary track, one that features some personal and professional insight on the part of the director. Originally set as a bare bones release Universal came to just before the release and included the commentary track. While not for all tastes this is a worthy film for those that can appreciate the darker side of the human experience.

Posted 4/23/04